Republic of the Philippines

OFFICE OF THE PRESIDENT

COMMISSION ON HIGHER EDUCATION

Art Appreciation

Course Title Art Appreciation

No. of Units 3 units

Course Description:

Art Appreciation is a three-unit course that develops students' ability to appreciate, analyze, and critique works of art. Through
interdisciplinary and multimodal approaches, this course equips students with a broad knowledge of the practical, historical,
philosophical, and social relevance of the arts in order to hone students' ability to articulate their understanding of the arts. The
course also develops students' competency in researching and curating art as well as conceptualizing, mounting, and evaluating art
productions. The course aims to develop students' genuine appreciation for Philippine arts by providing them opportunities to
explore the diversity and richness and their rootedness in Filipino culture.

Learning Outcomes

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

knowledge
1. Demonstrate an understanding and appreciation of arts in general, including their function, value, and historical significance
2. Define and demonstrate the elements and principles of design
3. Explain and evaluate different theories of art
4. Situate Philippine arts in a global context

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Appreciation
Skills
1. Analyze and appraise works of art based on aesthetic value, historical context, tradition, and social relevance
2. Mount an art exhibit (concept development, production and postproduction, marketing, documentation, critiquing)
3. Create their own works of art and curate their own production or exhibit
4. Utilize art for self-expression and for promoting advocacies

Values
1. Deepen their sensitivity to self, community, and society
2. Discover and deepen their identity through art with respect to their nationality, culture, and religion
3. Develop an appreciation of the local arts

Number of Hours. 3 hours every week for 18 weeks or 54 hours in a semester

Course Outline & Timeframe

Week Topics
1 Course orientation. Grading system, Requirements, Relevance of the course
Assumptions and Nature of Arts: Creativity, Imagination
2 Functions of Art and Philosophy
Subject and Content
3- 4 Art and Artisans; Production Process, Medium, Technique, Curation
5-6 Elements and Principles of Arts
7-12 Art History (Asian, Western, Philippines)
13-18 Soulmaking (Soul, Sound, Structure)
Workshops on Improvisations, Installation, Transcreation
Local Arts

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Appreciation
ART APPRECIATION Learning Plan

LEARNING
OUTCOMES TOPIC METHODOLOGY RESOURCES ASSESSMENT
To determine Course orientation Group discussion: oral Gardner's Art through the Ages: A Essay:
students' Grading system recitation Concise History of Western Art, If you were an
expectations of Requirements Why study humanities? Fred S. Kleiner, 3’d ed., 2012, artist, what
the course Relevance of the course What is art history? pp. 1-2 kind of artist
What is art appreciation? will you be?
To characterize Art history Imagination in Teaching and
artistic Why do people create Learning, Kieran Egan, 1992, What art field
expression Art appreciation, works of art? (individual) pp. 12-37 will you explore?
based on Art, creativity, imagination Why?
personal and the expression What is creativity? Nature and Young Children, 2nd
experiences Why is creativity necessary ed., Encouraging Creative Play How can you
with art in artmaking? and Learning in Natural utilize the arts to
When can you say that a Environments, Ruth Wilson, 2012, express yourself,
L (K) person is creative? pp. 1-17 your community,
Differentiate art and your relation
history from art to others and
appreciation; with the earth?
Discuss the
nature of art's
preliminary
expression

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L (K) Assumptions of art Lecture Art Perception and Appreciation, Insight paper:
Clarify (Art is universal, art is Dynamics Ortiz et al., 1976, pp. 5-12 Students will
misconceptions cultural; art is not nature; select from the
about art; art involves experience) Guide questions. The Humanities, Dudley and following topics:
Differentiate art (Art as expression, as a “Art is good because it is Faricy, 1968, pp. 5-22 (Nature of
from nature form of creation) popular” or "Art is good Art) Why is art
because it is universal" ageless and
O (K) Visual arts (2D, 3D) Alampat: An Introduction to Art timeless?
Categorize Film (Digital arts/analog) Why is art universal? Appreciation, Perez, Cayas, and
works of art by Performance art Narciso, 2013, pp. 9-12, 15-21
citing personal Poetry—performance Why is art not nature? Why is art not
Architecture The Humanities, Dudley Faricy nature?
experiences
Dance Why does art demand and Rice, 1968, pp. 5-12
L (K) Film involvement? Why does art
Characterize Literary Alampat. An Introduction to Art involve
the Theater Suggested activity: Appreciation, Perez, Cayas, and experience?
assumptions of Applied Arts (Fashion, Debate Narciso, 2013, pp. 9-12,15-21
the arts Furniture) (Imagination) pp. 38-40

L (K) Functions of art: Individual sharing. Dayaw (6 episodes), Legarda, Oral recitation
distinguish • Personal (utilitarian, What artform/artwork has 2015, online
between public display, changed something in your Group
directly expression) life? Why? Art: Perception and Appreciation, discussion and
functional and • Social (used for public FGD Ortiz et al., 1978, pp. 27-32 plenary
indirectly display and celebration, presentation
functional art used to affect the Film Viewing: Alampat: An Introduction to Art
collective behavior) Video Documentary “Sa Appreciation, Perez, Cayas, and
O, P (K) • Physical (utilitarian) Duyan ng Sining” Narciso, 2013, pp. 23-25
Apply concepts (Jesuit
and theories on Communications) Cultural Center of the Philippines,

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beauty and Philosophical import of art “Tuklas Sining" CCP Tuklas Sining, DVD Reflection
aesthetics in • Integrity questions: Does
real life • Proportion/Consonance Discuss basic philosophical “The Philosophical Concept of art always have
scenarios • Radiance/Clarity perspectives such as: Beauty," Jacques Maritain a function?
(Suggested topics) (from Creative Intuition in Art
Art as mimesis (Plato) and Poetry), 1953, pp. 122-127 If artwork did not
Art as representation have any
(Aristotle) Aesthetics and Art Theory, function, will it
Art for art's sake (Kant) Osborne, 1970, pp. 104-107,142- remain art?
Art as an escape 144, 171-191, 226-283
Art as functional
L (K) Subject type: Lecture Alampat: An Introduction to Art Gallery visit
Differentiate Representation Appreciation, Perez, Cayas, and
content from (with subject) and non- Provide classic examples Narciso, 2013, pp. 27-34 Reflection paper
subject representational (without on students'
subject) What are the two types of Cultural Appropriation and the experiences
L, 0, P (K) representing subject? Arts, Young, 2008, pp. 1-27 during visit to a
Classify Source of subject gallery or
artworks (nature, history, Greek and What are the sources and Art: Perception and Appreciation, museum
according to Roman mythology, Judeo- kinds of subject? Ortiz et al., 1978, pp. 14-26
subject Christian tradition, sacred
oriental texts, other works Assign students to bring
L, O, P (S) of art) either digital or printed
Analyze how copies of Filipino
artists present Kinds of subject contemporary artworks to
their subjects in (history, still life, animals, be presented orally or
relation to the figures, nature, landscape, using Powerpoint;
real subject seascape, cityscape, Identify and discuss the
mythology, myth, dreams, subject, source, type, and
L, O, P (S) and fantasies) kind of subject

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Characterize
sources and Content in art
kinds of art (levels of meaning)
1. Factual
2. Conventional
3. Subjective

L (K) Artists and artisans Video Documentary Myths and Symbols Philippines, Oral recitation
Identify the Francisco Demetrio, SJ, 1978, pp.
medium in Managers, curators, Lecture 406-411 Quiz
various forms of buyers, collectors, art Topics to be discussed:
art, viz., dealers Alampat: An Introduction to Art Organize a
visual, What is the difference Appreciation, Perez, Cayas, and forum about an
auditory, and
combined arts Production process between artists and Narciso, 2013, pp. 35-56 artist; artist's or
(preproduction, production, artisans? What is the artisan's
(X) and postproduction) relationship between artists MAKING THE THEATRE The brochure and
Define an and artisans? Craft of the Stage, Steven Patrick video clip to be
artist’s Medium, technique C. Fernandez, 2010, pp. 15 -20 uploaded on
or approach (in visual arts, Which is more important, social media
artisan's
medium and auditory, and combined the artist or the artwork? °Pioneers of Philippine Art," video (Note before
technique arts) documentary directed by F. uploading, the
What are medium and Capistrano-Baker, Ayala Museum, teacher will
(K) GAMABA technique? 2006, 29min. check the output
Define the role National Artists for validation
of managers, What are new trends or Art: Perception and Appreciation, and observance
curators, Events/Exhibits/Managing practices in art? Ortiz et al., 1978, pp. 14-26, 40-73 of ethics)
buyers, Audience
collectors, art What is the role of the Festival and Events Management, Preliminary
dealers in following figures Yeoman et al., 2004, pp. 53 -115 examination
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the (managers, curators,
art world

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buyers, collectors, art The Role of the Art Critic, Flores, Exhibit of artists’
O, P (S) dealers) in the community? in Paleta 5: A Handbook for and artisans’
Differentiate Visual Artists, ed. Hernandez, portfolio
between artists' Students will be assigned 2002, pp. 27-31 Mini-exhibit of
and artisan to discuss the artists’/artisans’
approach/ characteristics of different How to Document One's Work, work
technique art expressions (7 arts) Cajipe-Endaya, in Paleta 5. A
toward a Handbook for Visual Artists,
particular Interview of artists / studio 2002, pp. 24-26
medium visit (off campus)
How to Document a Structure, R T
Understand that Jose, Balangkas, 2007, pp. 25-28
the artisan's
work is an end
in itself and the
artist‘s work is a
means to an

(^)
Identify national
and GAMABA
artists' notable
works and their
contribution to
society
(/) Elements of art Lecture/ illustration / Sining at Lipunan, Flores and De Quiz
Identify the • Visual Discuss basic elements la Paz, 2000, pp. 24-26 (identification)
elements of art • Auditory and oral
• Combined Assign students to discuss Art in Focus, Interactive Student recitation

Page 5 of 16

Art
(S) the elements of the 7 arts ed., Gene A. Mittler, 2006, pp. 26-
Analyze the Arts/Performance art (visual arts, film, literature, 39 (Elements), pp. 40-49 Analysis paper
various dance, film, architecture, (Principles) by group:
elements Discuss fusions and music), then conduct an Choose a
present in overlapping and FGD to look into the Alampat: An Introduction to Art contemporary
visual, auditory, interrelated elements variations, overlapping, Appreciation, Perez, Cayas, and work and
and combined • Graffiti, poetry- dominant elements in art Narciso, 2013, pp. 61- 95 discuss the
arts performance, production in a particular (Elements), pp. 97-106 (Principles) subject, medium,
performance art, digital art expression and technique;
(S) at Art: Perception and Appreciation, Discuss further
Determine Suggested topic: Ortiz et al., 1978, pp. 75-179 how the artist
dominant Transcreation How do artists recreate, utilized the
elements used • Music to text transform, or translate one Merce Cunningham: Fifty Years, elements and
in hybrid oF artform into another work? Vaughan and Harris, 1997, pp. 10, principles of
• Text to dance
modified art 60-61, 100-101 (dance technique) design in an
• Dance to visual
expressions Suggested exercises artwork
1. Analog drawing
o• -° (S! 2. Room design
Determine the 3. Visual tapestry
factors 4. Soil/coffee art
influencing (value)
artists such as 5. Illustration (lines,
distortion, texture, form)
transformation, 6. Scribbling souls
appropriation in (color)
an experimental 7. Creative writing
or hybrid art
(erasure)
expression 8. Dula-tula (poetry-
performed)
9. Poem writing
10. Performance art/
wage b of 16
Art
deviant art
[Link] art
(K) Principles of design Lecture/illustration Art in Focus, Mittler, 2006, pp. 26- Essay
Identify the • Unity and harmony 39 (Elements), pp. 40-49
principles of • Rhythm, variation Exercises: (Principles) Collaborative
design • Balance and proportion Product design critiquing room design
Alampat: An Introduction to Art
• Emphasis and
(K) Appreciation, Perez, Cayas, and With rubrics
subordination (focal-
Define and point) Narciso, 2013, pp. 61- 95
translate (Elements), pp. 93-97 (Principles)
principles of The rule of thirds
design in an
artwork

o, P (s)
Create an
artwork
depicting the
various
principles of
design
Prelim Period Partial Requirement:
Present an experimental art expression based on recent issues in society fusing art and reality; function and beauty, weaving
sound, image, form, scent, and space. Students will submit a concept paper or script and production in a specific site, either a
physical stage or mobile, web (on-line) or any form of guerilla art expression. Prior to the performance, concept paper must be
submitted for guidance and critiquing. Posters, audience evaluation, and documentation will be required and will be submitted after
the performance. Running time will be based on the concept.

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MIOTERM

LEARNING
OUTCOMES TOPIC METHODOLOGY RESOURCES ASSESSMENT
(K) Reading the image Lecture Image to Meaning: Essays Read and
Identify various • Semiotic plane on Philippine Arts, Alice research about
planes in art • Iconic plane Demonstration Guillermo, 2001, pp. 1 -16 selected Western
• Contextual plane simulation and Asian art
(g) Gardner's Art through the
Categorize and Art history Ages. A Concise History of
organize information Western Art, Fred S. Kleiner,
from different 3ʳd ed., 2012, pp. 1-2
sources
(K) Cave art, Egyptian and Lecture Art through the Ages: A Designed rubrics for
Identify the Greek Global History. Kleiner, 15ᵗh creative output
underlying history, Creative presentation ed., 2016, pp. 1032-1047
philosophy of the Roman, Medieval, (South and Southeast Asia, Quiz
°ra or movements Gallery walk 1200-1980), pp. 1048-1063
Chinese Painting, (China and Korea, 1279- Oral recitation
O, P (K) Ukiyo-e (Japanese print) Games 1980), pp. 1064-1066
Classify the various (Japan, 1333-1980), pp. 994- Brochure about their
art movements by Renaissance and Talk show 1031 (Contemporary Art respective topics
citing their important Mannerism, Worldwide), pp. 948-993
characteristics such Baroque and Rococo (Modernism and Long test
as historical Video documentary Postmodernism in Europe (true or false,
background, factors, Neo-classicism, Romantic and America, 1945-1980) identification, fill
influential person, and Realism in the blanks,
socio-political Art in Focus, Mittler, 2006, enumeration, essay)
issues, and Impressionism pp. 136-471 (classic), pp.
prevalent artists. art Post-Impressionism 492-562 (modern art) Individual output:

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forms, and media Neo-impressionism modern/classical
Cave Art to Modern Art, in works appropriation
(S) Symbolism, Art Nouveau Fleming's Arts and Ideas, through photography
Present the history 10ᵗh ed., Mary Warner Marien
and movements of Fauvism and and William Fleming, 2005,
the arts through a Expressionism pp. 1-654
timeline
Cubism, Futurism Art: Perception and
O, P (S) Appreciation, Ortiz et al.
Cite important Abstract or non-objective 1978, pp. 163- 229
characteristics in an - Dadaism and Surrealism
artwork based on Constructivism, De Still Alampat: An Introduction to
the era Abstract expressionism Art Appreciation Perez,
movement Optical Art, Pop Art, Cayas, and Narciso,
(document and 2013,
annotate works) Minimalism, Conceptual pp. 113-129
Art
ArtSpoke, Robert Atkins,
Photo-realism 1993, pp. 43-415

Installation Art (Body Art, A World History of Art,

Earth and Land, 7 ed., Hugh Honour and John
Performance Art) Fleming, 2009, pp. 356-845
(K) Instrumental music: Brief lecture Music as Discourse: Semiotic Creative output/
Identify the various • Baroque (Johann Adventures in Romantic Presentations:
genres in music Pachelbel, Antonio Creative presentation Music, Agawu, 2009
Vivaldi, Johan (from solo to group, Students will interpret
O, P (S) Sebastian Bach, depending on students' The Human Image in the music through their
Make a creative George Frederic interests in art Arts, Fernandez, 2009, pp. own art expressions
interpretation of the Handel, Franz expression) 65-76 (music video, dance,
different musical Schubert) poetry. live painting,

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genres • Classical (Joseph Art Perception and film, digital art, magic,
Haydn, Wolfgang Appreciation, Ortiz et al., experimental, etc.)
0, P (S) Amadeus Mozart, 1976, pp. 98-121
Translate sound or Ludwig Van
music into a new Beethoven, Franz Who Needs Classical Music?
form and in a new Schubert) Cultural Choice and Musical
context • Romantic (Carl Maria Value, Johnson, 2002
Von Weber, Frederic
Chopin, Robert
Schumann, Franz
Liszt, Richard
Wagner, Jacques
Offenbach, Johannes
Brahms, Pyotr llyich
Tchaikovsky, Nikolai
Rimsky, Korsakov,
Richard Strauss)
• !V!odern (Claude
Debussy, Arnold
Schoenberg, Maurice
Ravel, John Cage,
Philip Glass)
MIDTERM EXAMINATION
A paper that analyzes their own respective topics; comparison, difference of factors, influential persons, styles, subject, technique
affecting the era or movement; notable artists and works; semiotic plane, iconic plane, contextual plane, and evaluative plane

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FINALS

LEARNING
OUTCOMES TOPIC METHODOLOGY RESOURCES ASSESSMENT
(K) Soulmaking (artmaking): Lecture Soulmaking, Narciso, 2016 Individual reflective
Discuss the concept Crafting images essay (8 images and
of “soulmaking" Crafting stories Demonstration Mick Basa, The Soul 80 words to describe
Crafting instruments Maker 2013, online self)
(S) performance Simulation
Develop students' Nature and Young Children, Quiz
artistic potentials 7 da Vincian principles Workshop 2n ed., Encouraging
through soulmaking Creative Play and Learning Art output with
in Natural Environments, rubrics
(V) Ruth Wilson, 2012, pp. 3-17
Enhance students' Art portfolio
sensitivity and Dela Cruz et al., Art
awareness toward Republik, 2012, video, Organize an
their environment 10 advocacy art
episodes or
(S) immersion or
Extend to the workshop for
immediate the community
community the
students' art works
as a form of service
learning (e.g.,
recyclable materials)

(S) Narratives, appropriation, Lecture Cultural Appropriation and Creative output

Characterize and borrowing, and ownership the Arts, Young, 2008, pp
define narratives, Students are assigned to 1-27 Students will

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Art
appropriation, Posit five (5) acts of look for works that have appropriate an ad in
borrowings, and cultural appropriation been appropriated in any Black Film as a Signifying any form, take a
ownership of 1. Object appropriation form; Discuss and Practice: Cinema, Narration picture of it and
the 2. Content
artists or any 3. Style compare the old and new and the African-American create another poster
agency in the art 4. Motif appropriation meanings Aesthetic Tradition, that incorporates
world 5. Subject appropriation Yearwood, 2000, p. 124-129 their new concept
Suggested topics:
(S) What contemporary art Essay
Contextualize forms or art expressions
classical notable utilize the principle of
works into a certain appropriation?
theme and comment Why do they appropriate?
on a certain issue, What art forms are
either on a personal commonly appropriated?
or societal level

O, P (V)
Develop students'
artistic ability in any
form they would like
to appropriate an art
O, P (V) Textile art Video documentary Hinabing Panaginip, Fruto Reflective essay
Draw out metaphors Soul, dreams and Corre, Bookmark video,
from local myths so imagination Brief lecture 1999 Quiz (multiple choice,
students will value enumeration,
cultural roots Tnalak process Illustration Myth, Mimesis and Magic in identification)
Tnalak and T'boli art the Music of the Tboli, Mora,
O, P (V) Dagmay, Mind mapping 2005, p. 66-68
Deepen students' Pis-yabit Seputangan
understandinq of maul Alampat: An Introduction to

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imaging Art Appreciation, Perez,
Cayas, and Narciso, 2013,
pp. 34-40 (imagination)

Sinaubang Habi. Philippine

Ancestral Weave, Pastor-
Roces, Marian, 1991, pp.
206-305
(K) Visual elements in Lecture Sourcebook of Philippine Quiz
Analyze how line Philippine traditional Traditional Motifs and Crafts
was interpreted and motifs and crafts Workshop Processes, Mercedita Jose Individual output with
utilized in traditional Dela Cruz, 1982, pp. 18-34 rubric
crafts FGD
Decorative motifs and Ukkil: Visual Arts of the Sulu Visual tapestry
(S) symbols, classification Archipelago, Ligaya
Develop students' Fernando—Amilbangsa,
ability in 2005, pp. 15-38
manipulating the
elements of art

(V)
Document changes
and the shifting
environment such
as terrain, texture,
sound through
fusion of various
elements of art

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(K) Soul and Lecture The Maranaw Torogan, Oral recitation
Determine the space. Torogan Madale, 1996, pp. 7-31
implications of soul Ifugao Bale Video documentary Build miniature
and space for our Bahay Kubo skeletal or structural
society Bahay na Bato Collaborative artistic work stilt houses
Other indigenous houses
(K) Group activity with
Characterize how rubrics
Filipinos utilize
space to determine
its implications for
their identities,
history, religion,
philosophy
(K) Symmetry art Lecture Ukkil: Visual Arts of the Sulu Portfolio of Okir-
Discuss the Okir/Ukkil Demonstration workshop Archipelago, Ligaya inspired artworks in
concept of Okir in Fernando-Amilbangsa, the city or community
relation to Islamic Locate okir 2005, pp. 174-175
Art inspired artworks in
the city
0, P (K) (paintings, drawings, Artistic output-
Identify the parts of architecture, functional symmetry art
Okir/Ukkil tools, jewelries, furniture,

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fabric or fashion)
O, P (S)
Greate a symmetry
art inspired by
Okir/ Ukkil

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(^)
Determine the
cultural relevance of
the Okir
Improvisation in various Lecture Choreography: A Basic Workshop with rubric
(K) artforms Approach Using
Define improvisation Demonstration Improvisation, Minton, 1986, Quiz
Contact-body pp. 18-19
(S) improvisation SIm\Jl¿itIO i Oral recitation
Utilize the body as (Flow, stacatto, chaos, Improvisation for the
the basic tool in lyrical, stillness) FGD Theater, Spolin, 3’d ed., Group dynamics with
expression and 1999 (entire book) rubrics
communication Sound improvisation Performance art
simulation Culture of Improvisation,
(V) Theatre improvisation (e.g., planking, flash mob, Antolihao, 2004, pp. 83-84
Strengthen students' happenings)
initiative and artistic Solving improvisational The Wave Dance, Roth,
sensibilities challenges Video documentary 2008, online

The Way of Improvisation,

Morris, 2011, online
L, O (K) Indigenous art Lecture Local Community Reflective essay
Trace and Immersion
summarize the Muslim art Creative presentation Quiz
development of the Gallery/studies or workshop
arts, art appreciation Christian art Exhibit (online and actual) visit Exam
and aesthetics in
contemporary art Contemporary art (immersion/research of their
practice own community)
Practice and movement

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(V)
Appreciate better
the history and
development of
Philippine arts
Partial Requirement A five-minute individual art talk; a summative, application or reflection of all the ideas and concepts that
Long test students have learned by discussing any topic/theme, artwork, concepts, ideas, nature of the art; either
cultural, artistic, historical, object, artifact, movement, practice.

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ART APPRECIATION Course Map

Art
General Education (G.E.) Outcomes Appreciation
I NOWLEDGE
1. Analyze "texts” (written, visual, oral, etc.) critically L
2. Demonstrate proficient and effective communication (writing, speaking, and use of new L
technologies)
3. Use basic concepts across the domains of knowledge L
4. Demonstrate critical, analytical, and creative thinking L
5. Apply different analytical modes in problem solving L

VALUES
1. Appreciate the complexity of the human condition
2. Interpret the human experience from various perspectives P
3. Examine the contemporary world from both Philippine and global perspectives L
4. Take responsibility for knowing and being Filipino L
S. Reflect critically on shared concerns 0
6. Generate innovative practices and solutions guided by ethical standards 0
7. Make decisions based on moral norms and imperatives 0
8. Appreciate various art forms P
9. Contribute to aesthetics P
10. Advocate respect for human rights 0
11. Contribute personally and meaningfully to the country's development 0

Page 1 of 2
Art
SKILLS
1. Work effectively in a group P
2. Apply computing tools to process information effectively 0
3. Use current technology to assist and facilitate learning and research L
4. Negotiate the world of technology responsibly 0
5. Create solutions to problems in various fields 0
6. Manage one's knowledge, skills, and values for responsible and productive living 0
7. Organize one's self for lifelong learning 0

Legend:

L= Learned
P=
Practiced
O = Opportunity to learn

Page 2 of 2
Art
ART APPRECIATION Required Readings and Other Materials

Books
• Agawu, Kofi (2009) Music as Discourse. Semiotic Adventures in Romantic Music. New York: Oxford University Press.
• Antolihao, Lou (2004) Culture of Improvisation. Quezon City: Institute of Philippine Culture, Ateneo de Manila
University.
• Atkins, Robert (1993) ArtSpoke: A Guide to Modem Ideas, Movements, and Buzzwords, 184 1944. New York:
Abbeville Press.
• Cajipe-Endaya, Imelda (2002). How to Document One's Work. In Paleta 5. A Handbook for Visual Artists, ed.
Eloisa May Hernandez, pp. 24-26. Manila: NCCA.
• Dela Cruz, Mercedita Jose (1982) Sourcebook of Philippine Traditional Motifs and Crafts Processes. Manila: Philippine
Committee for [the Unesco] Internation.
• Dudley, Louise and Austin Faricy (1968) The Humanities: Applied Aesthetics. 4* ed. New York: McGraw-Hill.
• Demetrio, Francisco (1978) Myths and Symbols Philippines. Manila: National Bookstore.
• Egan, Kieran (1992) Imagination in Teaching and Learning: The Middle School Years. Chicago: University Chicago
Press.
• Fernandez, Steven Patrick (2010) Making Theatre. The Cra ft of the Stage. Iligan City: MSU-Iligan Institute of
Technology, Mindanao State University.
• Fernandez, Steven Patrick (2009) The Human image in the Ads. Iligan City: IPAG Arts Resource Management, Inc.
• Fernando-Amilbangsa, Ligaya (2005) Ukkil. Visual Arts of the Sulu Archipelago. Quezon City: Ateneo de Manila
University Press.
• Flores, Patrick (2002). The Role of the Art Critic. In Paleta 5. A Handbook for Visual Artists, ed. Eloisa May
Hernandez, pp. 27-31. Manila: NCCA.
• Flores, Patrick and Cecile Sta. Maria de la Paz (2000) Sining at Lipunan. Manila: Sentro ng Wikang Filipino, Sistemang
Unibersidad ng Pilipinas.
• Guillermo, Alice (2001) Image to Meaning. Essays on Philippine Ad. Quezon City: Ateneo de Manila University Press.
• Honour, Hugh and John Fleming (2009) A World History of Art. 7th ed. London: Laurence King Publishing.
• Johnson, Julian (2002) Who Needs Classical Music? Cultural Choice and Musical Value. New York: Oxford University
Press.

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• Jose, Regalado Trota (2007) How to Document a Structure. In Balangkas: A Resource Book on the Care of
Built Heritage In the Philippines, ed. Fernando Zialcita, pp. 25-28. Manila: NCCA.
• Kleiner, Fred (2012) Gardner's Ad Through the Ages. A Concise History of Western Art. 3’d ed. Belmont,
CA: Wadsworth
• Kleiner, Fred (2016) Art through the Ages: A Global History. 15th ed. Boston: Cengage Learning.
• Madale, Abdullah T. (1996) The Maranaw Torogan. Manila: Rex Book Store.
• Maritain, Jacques (1953) Creative Intuition in Art and Poetry. New York: Pantheon Books.
• Marien, Mary Warner and William Fleming (2005) Fleming's Arts and Ideas. 10th ed. Belmont, CA: Wadsworth.
• Minton, Sandra (1986) Choreography. A Basic Approach Using Improvisation. Illinois: Human Kinetics Publishers.
• Mittler, Gene A. (2006) Ad in Focus. 3’d student ed. New York: McGraw-Hill/Glencoe.
• Mora, Manolete (2005) Myth, Mimesis and Magic in the Music of the T'boli, Philippines. Quezin City: Ateneo de Manila
University Press.
• Narciso, Norman (2016). Soulmaking. Davao City Aletheia Publications.
• Ortiz, Ma. Aurora, Teresita Erestain, Alice Guillermo, Myrna Montano, and Santiago A. Pilar (1976) Ad.’ Perception and
Appreciatlon. 13 printing. Manila: University of the East.
• Osborne, Harold (1970) Aesthetics and Art Theory: An Historical Introduction. New York: E. P. Dutton.
• Perez, Teody Boylie, Rogelito Cayas, and Norman Narciso (2013). Alampat: An Introduction to Art Appreciation. Davao
City: Blue Patriarch Publishing House.
• Pastor-Roces, Marian (1991) Sinaubang Habi. Philippine Ancestral Weave. Nikki Coseteng Filipiniana Series, 1.
Manila: Nikki Books.
• Spolin, Viola (1999) Improvisation for the Theater.’ A Handbook of Teaching and Directing Techniques. 3’d ed.
Evanston, IL: Northwestern University Press.
• Vaughan, David and Melissa Harris (1997) Merce Cunningham. Fifty Years. New York: Aperture.
• Wilson, Ruth (2012). Nature and Young Children. Encouraging Creative Play and Learning in Natural Environments. 2nd
ed. New York: Routledge.
• Yearwood, Gladstone L. (2000) Black Film as a Signifying Practice. Cinema, Narration and the African American
Aesthetic Tradition. Trenton, NJ: Africa World Press.
• Yeoman, lan, Martin Robertson, Jane Ali-Knight, Siobhan Drummond, and Una McMahon-Beattie (2004) Festival and
Events Management.’ An International Ads and Culture Perspective. New York: Taylor and Francis.
• Young, James 0. (2008) Cultural Appropriation and the Ads. Malden, MA: Blackwell Publishing.

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Videos and Other Materials

• Basa, Mick (2013) The Soul Maker. Online, [Link]

• Capistrano-Baker, Florina (2006) Pioneers of Philippine Art. Makati: Ayala Museum and Dreampulse Production, video,
32.25 min.
• Corre, Fruto and Nancy Pe-Rodrigo (1999) Hinabing Panaginip (Dream Weavers), Bookmark video, 45 min.
• Dela Cruz, Elvie, JL Burgos, Imelda Morales, Opaline Santos, Ria Torrente, Kathrina Reston, Tom Estrera III, Allan
Alcantara, Erwin dela Cruz, Rene Bayking, and Joel Laserna (2012). Art republik. Asian Christian Arts Association, Inc.,
video. Episode 1: Siblings in Art; Episode 2: Spoken Words; Episode 3: Performing Bayanihan; Episode 4: Space
and Sound; Episode 5: Artists by Night Director's Cut; Episode 6: Tambayan; Episode 7: On Women; Episode 8:
Skin, Street and Comics; Episode 9: The Old and the New; Episode 10: The Collector; and Episode 11: The Winner
Is.
• Kleon, Austin (2012) Steal Like An Artist. TEDxKC Online, [Link] 11:14
min
• Legarda, Loren (2015) Dayaw Episode 1 “Lupa, Karagatan, Kagubatan.” NCCA. ABS-CBN News Channel Production.
Online, [Link] 23.30 min.
• Legarda, Loren (2015) Dayaw Episode 2 “Mito, Kwento, Musika.” NCCA. ABS-CBN News Channel Production. Online,
[Link] 21.20 min.
• Legarda, Loren (2015) Dayaw Episode 3. “Inukit, Hinulma, Nilikha." NCCA. ABS-CBN News Channel Production.
Online, [Link] 20.09 min.
• Legarda, Loren (2015) Dayaw Episode 4. “Hinabing Kasaysayan ng mga Kababaihan.” NCCA. ABS—CBN News
Channel Production. Online, [Link] 23.20 min.
• Legarda, Loren (2015) Dayaw Episode S. “Pagbangon, Pagpapatuloy." NCCA. ABS-CBN News Channel Production.
Online, [Link] 22.52 min.
• Legarda, Loren (2015) Dayaw Episode 6. "Parangal Sa Mga Ninuno." NCCA. ABS-CBN News Channel Production.
Online, [Link] 26.02 min.
• Morris, Dave (2011) The Way of Improvisation. TEDxVictoria. Online, [Link]
pWJ0riQ, 10:49 min.
• Roth, Gabrielle (2008) The Wave Dance. Online, [Link] 9:22 min.

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