BACHELOR OF SCIENCE IN ACCOUNTANCY

PROGRAM CURRICULUM AY 2020 - 2021

Course Title: ART APPRECIATION

No. of Units: 3 units
Course Description:
Art Appreciation is a three-unit course that develops student’s 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 home student’s ability to articulate their understanding of the arts. The course also develops students genuine
appreciation for Philippine arts by providing them opportunities to explore the diversity and richness and their rootedness in Filipino culture.

Learning Outcomes

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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 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

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 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 Soul making (Soul, Sound, Structure)

Workshops on Improvisations, Installation, Transcreation

Local Arts

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 Learning Plan
LEARNING TOPIC METHODOLOGY RESOURCES ASSESSMENT
OUTCOMES
To determine students' Course orientation Group discussion: oral Group discussion: oral Essay:
expectations of the Grading system recitation recitation If you were an artist,
course Requirements Why study Why study what kind of artist will
Relevance of the humanities? What is humanities? What is you be?
course art history? art history?
What is art appreciation? What is art appreciation?
To characterize artistic Art history
expression based on Why do people create Why do people create What art field will you
personal experiences Art appreciation, works of art? (individual) works of art? (individual) explore?
with art Art, creativity, Why?
imagination and the What is creativity? What is creativity?
L (K) expression Why is creativity Why is creativity How can you utilize the
Differentiate art history necessary in art making? necessary in art making? arts to express yourself,
from art appreciation; When can you say that a When can you say that a your community, and your
Discuss the nature of person is creative? person is creative? relation to others and with
art's preliminary the earth?
expression

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

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

Cultural Center of the

Philippines,
beauty and aesthetics in Philosophical import of art “Tuklas Sining" CCP Tuklas Sining, DVD Reflection
real life scenarios • Integrity questions: Does art
• Proportion/Consonance Discuss basic "The Philosophical always have a function?
Radiance/Clarity philosophical perspectives Concept of Beauty,"
such as: (Suggested Jacques Maritain (from If artwork did not have
topics) Creative Intuition in Art any function, will it
Art as mimesis (Plato) and Poetry), 1953, pp. remain art?
Art as representation 122-127
(Aristotle)
Art for art’s sake Aesthetics and Art

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 (Kant) Art as an Theory, Osborne, 1970,
escape pp. 104-107,142-
Art as functional 144, 171-191, 226-283
L (K) Subject type: Lecture Alampat: An Introduction Gallery visit
Differentiate content Representation to Art
from subject (with subject) and Provide classic examples Appreciation, Perez, Reflection paper on
non- representational Cayas, and Narciso, 2013, students' experiences
What are the two types pp. 27-34 during visit to a gallery or
L, O, P (K) (without subject) museum
Classify artworks of representing
according to subject Source of subject subject? Cultural
(nature, history, Greek Appropriation and
L, O, P (S) and Roman mythology, What are the sources and the Arts, Young,
Analyze how artists Judeo- Christian kinds of subject? 2008, pp. 1-27
present their subjects in tradition, sacred oriental
relation to the real texts, other works of art) Assign students to Art: Perception and
Appreciation, Ortiz et at.,
subject bring either digital or 1978, pp. 14-26
Kinds of subject printed copies of
L, O, P (S) (history, still life, animals, Filipino contemporary
figures, nature, landscape, artworks to be
seascape, cityscape, presented orally or
mythology, myth, dreams,
and fantasies) using Powerpoint;
Identify and discuss
the subject, source,
type, and kind of
subject

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

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 (managers, curators, Art: Perception and
Appreciation, Ortiz et at.,
1978, pp. 14-26, 40-73

Festival and Events

Management, Yeoman et
at., 2004, pp. 53 -115
buyers, collectors, art The Role of the Art Exhibit of artists'
O, P (S) dealers) in the Critic, Flores, and artisans’ portfolio
Differentiate between community? in Paleta 5: A Handbook Mini-exhibit of
artists' and artisan for Visual Artists, ed. artists'/artisans’ work
approach/ technique Students will be Hernandez, 2002, pp. 27-
toward a particular assigned to discuss the 31
medium characteristics of
different art How to Document One’s
Understand that the expressions (7 arts) Work, Cajipe-Endaya, in
artisan’s work is an end Paleta 5: A Handbook
in itself and the artist‘s Interview of artists / for Visual Artists, 2002,
work is a means to an studio pp. 24-26
visit (off campus)
How to Document a
Structure, R T Jose,
Balangkas, 2007, pp. 25-28

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 Identify national and
GAMABA artists' notable
works and their
contribution to
society
(g) Elements of art Lecture/ illustration / Sining at Lipunan, Flores Quiz
Identify the elements of • Visual Discuss basic elements and De (identification) and oral
art • Auditory la Paz, 2000, pp. 24-26 recitation
Combined Assign students to discuss
Art in Focus, Interactive
Student
(S) Arts/Performance art the elements of the 7 arts ed., Gene A. Mittler, Analysis paper by
Analyze the (visual arts, film, 2006, pp. 26- group.‘ Choose a
various elements Discuss fusions and literature, dance, film, 39 (Elements), pp. 40-49 contemporary work and
present in architecture, music), (Principles) discuss the subject,
overlapping and
visual, auditory, and interrelated elements then conduct an FGD to medium,
look into the variations, Alampat: An Introduction and technique; Discuss
combined arts • Graffiti, poetry-
overlapping, dominant to Art Appreciation, further how the artist
(S) performance,
elements in art Perez, Cayas, and utilized the elements and
Determine performance art,
production in a Narciso, 2013, pp. 61- 95 principles of design in an
Dominant elements used in digital at
particular art expression (Elements), pp. 97-106 artwork
hybrid or modified art (Principles)
expressions Transcreation
Suggested topic:
• Music to text Art: Perception and
O,P(S) How do artists recreate,
• Text to dance Appreciation, Ortiz et at.,
Determine the factors transform, or translate
Dance to visual 1978, pp. 75-179

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 influencing artists such one artform into another Merce Cunningham: Fifty
as distortion, work? Years, Vaughan and
transformation, Harris, 1997, pp. 10,
appropriation in an Suggested exercises 60-61, 100-101 (dance
experimental or hybrid art 1. Analog drawing technique)
expression 2. Room design
3. Visual tapestry
4. Soil/coffee
art (value)
5. Illustration
(lines, texture,
form)
6. Scribbling
souls (color)
7. Creative
writing
(erasure)
8. Dula-tula
(poetry-
performed)
9. Poem writing
Performance
10. art/
deviant art
11.Advocacy art

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 (K) Principles of design Lecture/illustration Art in Focus, Mittler, Essay
Identify the principles of • Unity and harmony Exercises: 2006, pp. 26- Collaborative room design
design • Rhythm, variation Product design critiquing 39 (Elements), pp. 40-49 With rubrics
• Balance and (Principles)
(K)
Define and translate proportion
• Emphasis and Alampat: An Introduction
principles of design in an to Art Appreciation, Perez,
artwork subordination
(focal- point) Cayas, and Narciso, 2013,
o, P (s) Create an pp. 61- 95 (Elements), pp.
artwork depicting the The rule of thirds 93-97 (Principles)
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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 MIDTERM

LEARNING TOPIC METHODOLOGY RESOURCES ASSESSMENT

OUTCOMES
(K) Reading the image Lecture Image to Meaning: Essays Read and research about
Identify various planes in • Semiotic plane on Philippine Arts, selected Western and Asian
art • Iconic plane Demonstration Alice Guillermo, art
Contextual plane Art Simulation 2001, pp. 1 -16
(I\) history
Categorize and organize Gardner's Art through the
information from different Ages: A Concise History
sources of Western Art, Fred S.
Kleiner, 3’d ed., 2012, pp.
1-2
(K) Cave art, Egyptian and Lecture Art through the Ages: A Designed rubrics for
Identify the underlying Greek Global History. Steiner, creative output
history, philosophy of the Creative presentation 15'h ed., 2016, pp. 1032-
°ra or mov•-m•-nts Roman, Medieval, 1047 Quiz
Gallery walk (South and Southeast
O, P (K) Chinese Painting, Asia, 1200-1980), pp. Oral recitation
Classify the various art Ukiyo-e (Japanese print) Games Talk show 1048-1063
movements by citing (China and Korea, 1279- Brochure about their
their important Renaissance and Video documentary 1980), pp. 1064-1066 respective topics
characteristics such as Mannerism, (Japan, 1333-1980), pp.
historical background, Baroque and Rococo 994- Long test (true

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 factors, influential Neo-classicism, Romantic Video documentary 1031 (Contemporary Art Long test (true or
person, socio-political and Realism Worldwide), pp. 948- false,
issues, and prevalent 993 (Modernism and identification, fill in the
artists. art Impressionism Postmodernism in blanks, enumeration,
Post-Impressionism Europe and America, essay)
1945-1980)
Individual output:
Art in Focus, Mittler,
2006,
pp. 136-471 (classic), pp.
492-562 (modern art)
forms, and media Neo-impressionism Cave Art to Modern modern/classical
Art, in Fleming's Arts works appropriation
(S) Symbolism, Art Nouveau and Ideas, through photography
Present the history and 10 h ed., Mary Warner
movements of the arts Fauvism and Expressionism Marien and William
through a timeline Cubism, Futurism Fleming, 2005, pp. 1-654
Art: Perception and
o, P (s) Abstract or non-objective Appreciation, Ortiz et
Cite important - Dadaism and Surrealism at. 1978, pp. 163- 229
characteristics in an Constructivism, De Still
artwork based on the era Abstract expressionism Alampat: An Introduction to
movement (document and Optical Art, Pop Art, Art Appreciation Perez,
annotate works) Minimalism, Conceptual Cayas, and Narciso, 2013,
Art pp. 113-129

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 Photo-realism ArtSpoke, Robert Atkins,
1993, pp. 43-415
Installation Art (Body Art,
Earth and Land, A World History of Art,
Performance Art) 7 ed., Hugh Honour and
John Fleming, 2009, pp.
356-845
(K) Creative output/
Identify the various Instrumental music: Brief lecture Brief lecture Presentations:
genres in music Baroque (Johann Pachelbel,
Antonio Vivaldi, Johan Creative presentation (from Creative Students will interpret
o, P (s) Sebastian Bach, George solo to group, depending presentation (from solo to music through their own
Make a creative Frederic Handel, Franz on students’ interests in art group, depending on art expressions (music
interpretation of the Schubert) expression) students’ interests in art video, dance, poetry. live
different musical genres expression) painting,
• Classical Art Perception and film, digital art, magic,
O, P (S) (Joseph Haydn, Appreciation, Ortiz et experimental, etc.)
Translate sound or music Wolfgang at., 1976, pp. 98-121
into a new form and in a Amadeus
new context Mozart, Ludwig Who Needs Classical
Van Beethoven, Music? Cultural Choice
Franz Schubert) and Musical Value,
• Romantic (Carl Johnson, 2002
Maria Von Weber,

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 • 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 TOPIC METHODOLOGY RESOURCES ASSESSMENT

OUTCOMES
(K) Soulmaking (artmaking): Lecture Soulmaking, Narciso, Individual reflective
Discuss the concept Crafting images 2016 essay (8 images and 80
of “soulmaking" Crafting stories Demonstration words to describe self)
(S) Mick Basa, The Soul
Develop students’ Crafting instruments
Performance Demonstration Maker 2013, online Quiz
artistic potentials
through soulmaking Nature and Young
(V) 7 da Vincian principles Workshop Art output with rubrics
Enhance students' Children, 2n‘ ed.,
sensitivity and Encouraging
Creative Play and Art portfolio
awareness toward
their environment Learning
in Natural Environments, Organize an advocacy art
(S)
Extend to the Ruth Wilson, 2012, pp. 3- or immersion or workshop
immediate 17 for the community
community the
students at works as a Dela Cruz et at., Art
form of service Republik, 2012, video, 10
learning (e.g.
recyclable materials) episodes
(S) Narratives, appropriation, Lecture Cultural Appropriation Creative output
Characterize and borrowing, and ownership and
define narratives Students are assigned to the Arts, Young, 2008, pp Students will
1-27

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 appropriation, Posit five (5) acts of look for works that have Black Film as a appropriate an ad in
borrowings, and cultural appropriation been appropriated in any Signifying Practice: any form, take a picture of
ownership of the artists 1. Object appropriation form; Discuss and compare Cinema, Narration and the it and create another poster
or any agency in the art 2. Content the old and new meanings African-American that incorporates their new
world 3. Style Aesthetic Tradition, concept
4. Motif appropriation Suggested topics: Yearwood, 2000, p. 124-
(S) Subject appropriation What contemporary art 129 Essay
Contextualize classical forms or art expressions
notable works into a utilize the principle of
certain theme and comment appropriation?
on a certain issue, either on Why do they appropriate?
a personal or societal level What art forms are
commonly appropriated?
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 from Soul, dreams and Corre, Bookmark video,
local myths so students imagination Brief lecture Illustration 1999 Quiz (multiple choice,
will value cultural roots Mind mapping enumeration,
Myth, Mimesis and identification)
Tnalak process
O, P (V) Tnalak and T’boli Magic in the Music of the
Deepen students' Tboii, Mora, 2005, p.

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 understandinq of imaging art Dagmay, Alampat: An Introduction
Pis-yabit Seputangan to Art Appreciation, Perez,
maul 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 was Philippine traditional Workshop FGD Traditional Motifs and
interpreted and utilized motifs and crafts Crafts Processes, Individual output with
in traditional Mercedita Jose Dela Cruz, rubric
Crafts Decorative motifs and 1982, pp. 18-34
(S) symbols, classification Visual tapestry
Develop students' ability in Ukkil: Visual Arts of the
Sulu
manipulating the elements Archipelago, Ligaya
of art Fernando—Amilbangsa,
(S) 2005, pp. 15-38
Develop students' ability in
manipulating the elements
of art
(V)
Document changes and the

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

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 inspired by Okir/ Ukkil
Determine the cuïtural
redevance of the Okir
(K) Improvisation in various Improvisation in various Choreography: A Basic Workshop with rubric
Define improvisation artforms artforms Approach Using
Improvisation, Minton, Quiz
(S) Contact-body Contact-body 1986,
Utilize the body as the improvisation improvisation pp. 18-19 Oral recitation
basic tool in expression (Flow, stacatto, chaos, (Flow, stacatto, chaos,
and communication lyrical, stillness) lyrical, stillness) Improvisation for the Group dynamics with
Theater, Spolin, 3’d ed., rubrics
(V) Sound improvisation Sound improvisation 1999 (entire book)
Strengthen students'
initiative and artistic Theatre improvisation Theatre improvisation Culture of Improvisatîon,
sensibilities Antolihao, 2004, pp. 83-
Solving Solving 84
improvisational improvisational
The Wave Dance, Roth,
challenges challenges 2008, online

The Way of Improvisation,

Morris, 2011, online

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 L, O (K) Indigenous art Local Community Reflective essay
Trace and summarize the Immersion
development of the arts, Muslim art Lecture Quîz
art appreciation and Gallery/studies or
aesthetics in Christian art Creative presentation workshop Exam
contemporary art practice Exhibit (online and actual) vÏsÎt
Contemporary
(immersion/research of
art their
own community)
Practice and movement
(V)
Appreciate better the
history and development
of Philippine arts
Partial Requirement Long A five-minute individual art talk; a summative, application or reflection of all the ideas and concepts that
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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 Course Map

General Education (G.E.) Outcomes Art

Appreciation
KNOWLEDGE
1. Analyze "texts” (written, visual, oral, etc.) critically L
2. Demonstrate proficient and effective communication (writing, speaking, L
and use of new 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 O
2. Interpret the human experience from various perspectives P
3. Examine the contemporary world from both Philippine and global
L
perspectives
4. Take responsibility for knowing and being Filipino L
5. Reflect critically on shared concerns O
6. Generate innovative practices and solutions guided by ethical standards O
7. Make decisions based on moral norms and imperatives O
8. Appreciate various art forms P
9. Contribute to aesthetics P
10. Advocate respect for human rights O
11. Contribute personally and meaningfully to the country's development O

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Telephone Numbers: (+632) 543 2663, (+632) 692 1129 Art Appreciation
Email: albertzaratemd@gmail.com
 SKILLS
1. Work effectively in a group P
2. Apply computing tools to process information effectively O
3. Use current technology to assist and facilitate learning and research L
4. Negotiate the world of technology responsibly O
5. Create solutions to problems in various fields O
6. Manage one’s knowledge, skills, and values for responsible and O
productive living
6. Manage one’s knowledge, skills, and values for responsible and O
productive living

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Telephone Numbers: (+632) 543 2663, (+632) 692 1129 Art Appreciation
Email: albertzaratemd@gmail.com
 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 Craft 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) S/n/ng af 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.

Atlas Compound, Naga Road, Pulanglupa I, Las Piñas City, Philippines 1742 Page 25 of 28
Telephone Numbers: (+632) 543 2663, (+632) 692 1129 Art Appreciation
Email: albertzaratemd@gmail.com
 • 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.
• 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
Appreciation. 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.

Atlas Compound, Naga Road, Pulanglupa I, Las Piñas City, Philippines 1742 Page 26 of 28
Telephone Numbers: (+632) 543 2663, (+632) 692 1129 Art Appreciation
Email: albertzaratemd@gmail.com
 • 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 O. (2008) Cultural Appropriation and the Ads. Malden, MA: Blackwell Publishing.

Videos and Other Materials

• Basa, Mick (2013) The Soul Maker. Online, http://durianwriter.wordpress.com/tag/noy-narciso/

• 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, https://www.youtube.com/watch?v=oww7oB9rjgw, 11:14 min
• Legarda, Loren (2015) Dayaw Episode 1 “Lupa, Karagatan, Kagubatan.” NCCA. ABS-CBN News Channel Production. Online,
https://www.youtube.com/watch?v=uDvufr-3xFw, 23.30 min.

Atlas Compound, Naga Road, Pulanglupa I, Las Piñas City, Philippines 1742 Page 27 of 28
Telephone Numbers: (+632) 543 2663, (+632) 692 1129 Art Appreciation
Email: albertzaratemd@gmail.com
 • Legarda, Loren (2015) Dayaw Episode 2 “Mito, Kwento, Musika.” NCCA. ABS-CBN News Channel Production. Online,
https://www.youtube.com/watch?v=3Xp6PLC6xJU, 21.20 min.
• Legarda, Loren (2015) Dayaw Episode 3. “Inukit, Hinulma, Nilikha." NCCA. ABS-CBN News Channel Production. Online,
https://www.youtube.com/watch?v=-OPfH8RAbjQ, 20.09 min.
• Legarda, Loren (2015) Dayaw Episode 4. “Hinabing Kasaysayan ng mga Kababaihan.” NCCA. ABS—CBN News Channel
Production. Online, https://www.youtube com/watch?v=mL013U97tIE, 23.20 min.
• Legarda, Loren (2015) Dayaw Episode S. “Pagbangon, Pagpapatuloy." NCCA. ABS-CBN News Channel Production. Online,
https://www.youtube.com/watch?v=oi0YEeYsNwQ, 22.52 min.
• Legarda, Loren (2015) Dayaw Episode 6. "Parangal Sa Mga Ninuno." NCCA. ABS-CBN News Channel Production. Online,
https://www.youtube.com/watch?v=CIrjWNVC9HA, 26.02 min.
• Morris, Dave (2011) The Way of Improvisation. TEDxVictoria. Online, https://www. youtube. com/watch?v=MUO- pWJ0riQ,
10:49 min.
• Roth, Gabrielle (2008) The Wave Dance. Online, https://www.youtube.com/watch?v=8cYYzcTzm6Y, 9:22 min.

Atlas Compound, Naga Road, Pulanglupa I, Las Piñas City, Philippines 1742 Page 28 of 28
Telephone Numbers: (+632) 543 2663, (+632) 692 1129 Art Appreciation
Email: albertzaratemd@gmail.com