MANUEL V. GALLEGO FOUNDATION COLLEGES, INC.

Cabanatuan City, Philippines

(www.mvgfc.edu.ph)

COURSE INFORMATION:

Course Code/Catalog No.: HUM111

Course Description:
Art Appreciation is a three-unit course that develops learners’ ability to appreciate, analyze, and critique works of art. Through
interdisciplinary and multimodal approaches, this course equips learners with a broad knowledge of the practical, historical, philosophical,
and social relevance of the arts in order to hone learners’ ability to articulate their understanding of the arts. The course also develops
learners’ competency in researching and curating art as well as conceptualizing, mounting, and evaluating art productions. The course
aims to develops learners’ genuine appreciation for Philippines arts by providing them opportunities to explore the diversity and their
rootedness in Filipino culture.
Credit Unit: 3 units
Contact Hours: 3 hours
Pre-requisite:
Intended for:
Instructor/Professor: Dr. Magdalena R. Mendillo
Major in:
E-mail Address /Contact No.:

Adopted December 19, 2017

 VISION MISSION

MVGFC shall be among the leading educational institution in Nueva In the pursuit of its Vision, MVGFC shall assure quality relevance in its
Ecija that is known for its accredited academic programs, high ratings curriculum, instruction, research, extension, and student services
in nationally recognized examinations and high employment rate of its through continuous quality improvement.
graduates.

PROGRAM OUTCOMES (PO)/PERFORMANCE INDICATORS (PI)

On completion of the degree program, the student is expected to be able to do the following:
PROGRAM OUTCOMES PERFORMANCE INDICATORS
Knowledge
PO1: Higher levels of comprehension {textual, visual, etc.} Comprehend reading material that used during the teaching-learning process.
PO2: Proficient and effective communication {writing, speaking, and use of Communicate effectively in writing, speaking, and use of the new technologies
new technologies} in the working environment or any office works.
PO3: Understanding of basic, concepts across the domain of knowledge Integrate the domain knowledge during teaching-learning process.
PO4: Critical, analytical, and creative thinking Analyse the situation in times of dilemma, and think critically to find a solution.
PO5: Application of different analytical modes (quantitative and qualitative, Use the tackling problem methods in conducting research.
artistic and scientific, textual and visual, experimental, observation, etc.) in
tackling problems methodically.
Skills
PO1: Working effectively in a group Work collaboratively.
PO2: Application of computing and information technology to assist and Use technology appropriately to conduct research or any computer generated
facilitate research outputs.
Communicate with the use of technology effectively in terms of writing and
PO3: Ability to negotiate the world of technology responsibly
speaking.
Apply the skills garnered during the teaching-learning process in real-life
PO4: Problem-solving (including real-world problems)
situation.
PO5: Basic work-related skills and knowledge Integrate the knowledge about arts in workplace.
Attitudes

Adopted December 19, 2017

 Appreciate the impact of arts in an individual and analyse how arts affected the
PO1: Appreciation of the human condition
life of every individual.
PO2: Capacity to personally interpret the human experience Think critically and analytically in real-life situation.
PO3: Ability to view the contemporary world from both Philippine and global Appreciate that arts can be seen in the locally or globally.
perspectives
PO4: Self-assuredness in knowing and being Filipino Appreciate the work of arts in the Philippines.
PO5: Capacity to reflect critically on shared concerns and think of innovative, Reflect the work of art in creating solution in any unethical issues happened.
creative solutions guided by ethical standards
PO6: Ability to reflect on moral norms/imperatives as they affect individuals Identify the individual differences of the culture, norm, and ethics of every
and society individual.
PO7: Ability to appreciate and contribute the artistic beauty Contribute the artistic beauty locally or globally.
PO8: Understanding and respect for human rights Inculcate good character to create an art.
PO9: Ability to contribute personally and meaningfully to the country’s Produce an exceptional contribution in line with arts.
development

RELATIONSHIP BETWEEN CO AND PO

After completion of the course, the student should be able to:
KNOWLEDGE
CO Code COURSE OUTCOMES PO1 PO2 PO3 PO4 PO5
CO1 Demonstrate an understanding and appreciation of arts in general, including their I I P
function, value, and historical significance
CO2 Define and demonstrate the elements and principles of design I P
CO3 Explain and evaluate different theories of art P P P
CO4 Situate Philippine arts in a global context P I P

SKILLS
CO Code COURSE OUTCOMES PO1 PO2 PO3 PO4 PO5
CO5 Analyze and appraise works of art based on aesthetic value, historical context, I I
tradition, and social relevance

Adopted December 19, 2017

 CO6 Mount an art exhibit (concept development, production and postproduction, marketing, P
documentation, critiquing)
CO7 Create their own works of arts and curate their own production or exhibit P P P P
CO8 Utilize art for self-expression and for promoting advocacies P D D D D

ATTITUDES
CO Code COURSE OUTCOMES PO1 PO2 PO3 PO4 PO5 PO6 PO7 PO8 PO9
CO9 Deepen their sensitivity to self, community, and society I I I I I I
CO10 Discover and deepen their identity through art with respect to their P P P P
nationality, culture, and region.
CO11 Develop an appreciation of the local arts P P P P
LEGEND: I – Introduce; P – Practice; D – Demonstrate

THE LEARNING PLAN

In order to achieve the outcomes of this course, the learners will go through this learning plan:
CO INTENDED LEARNING OUTCOMES TOPIC TEACHING/ LEARNING ASSESSMENT TIME
LEARNING RESOURCES TASKS/TOOLS FRAME
ACTIVITIES
Knowledge Skills Attitudes
Art History  Group To enable the Essay with the
To characterize
discussion learner to achieve topics
artistic
expression
Art Appreciation, Art,  Lecture the intended a. If you were an
creativity, imagination discussion learning outcome, artist, what kind
based on
1,2,3
personal
and the expression  Debate learners will use of artist will you 13.5 hours
the following: be?
experiences
Assumption of art (Art is b. What art field
with art.
universal; art is cultural;  Power point will you
art is not nature; art presentation explore? Why?

Adopted December 19, 2017

 Differentiate art involves experience) (Art  Books c. How can you
history from art as expression, as a form utilize the arts
appreciation; of creation) to express
Discuss the yourself, your
nature of art’s Visual arts (2D, 3D) community, and
preliminary Film (Digital arts/analog) your relation to
expression Performance art others and with
Poetry-performance the earth?
Clarify Architecture
misconceptions Dance Insight paper with
about art; Literary their own selection
Differentiate art Theater of topics:
form nature Applied arts (Fashion, a. Why is art
Furniture) ageless and
Categorize timeless?
works of art by b. Why is art not
citing personal nature?
experiences c. Why does art
involve
Characterize the experience?
assumptions of
the arts
Function of Arts:  Individual  Power point  Oral recitation
Distinguish
 Personal (utilitarian, sharing presentation  Group and
between directly
public display,  Film showing  Video plenary
functional and
indirectly
expression)  Lecture presentation presentation
 Social (used for public discussion  Books  Reflection
functional art.
1,2,3,4 display and paper with the
celebration, used to question:
Apply concepts
affect the collective a. Does art always
and theories on
behavior) have a
beauty and
aesthetics in  Physical (utilitarian) function?

Adopted December 19, 2017

 real life Philosophical import of b. If art did not
scenarios. Art have any
 Integrity function, will it
 Proportion/Consonanc remain art?
e
 Radiance/Clarity
Subject Type:  Lecture  Power point  Gallery visit
 Representation (with discussion presentation  Reflection
subject) and non- paper during
representation (without the gallery visit.
subject)

Source of Subject
 (nature, history, Greek
and Roman
Analyze how mythology, Judeo-
Differentiate
artist present Christian tradition,
content from
their subject in sacred oriental texts,
subject.
relation to the other works of art)
1,2,3,5 real subjects.
Classify
Kinds of Subjects
artworks
according to
Characterize  (history, still life,
sources and animals, figures,
subject.
kinds of arts. nature, landscapes,
seascape, cityscape,
mythology, myth,
dreams, and fantasies)

Content in arts (levels

of meaning)
1. Factual
2. Conventional
3. Subjective

Adopted December 19, 2017

 First Preliminary Examination
Identify the Artist and Artisans  Video  Books  Oral
medium in  Managers, curators, Documentary  Camera recitation
various forms of buyers, collectors, art  Lecture  Computers  Quiz
arts, viz., visual, dealers discussion  Power point
auditory, and  Production process presentation
combined arts. (preproduction,
production, and
Define an postproduction)
artist’s medium  Medium, technique
Differentiate
and technique. Appreciate that approach (in visual
between
the artisan’s arts, auditory, and
artists’ and
Define the role work is an end combined arts)
1,2,3,4, artisan
of mangers, in itself and the  GAMABA National
5,9 approach/tech
curators, artist’s work is Artists
nique toward
buyers, a means to an  Events/Exhibits/Manag
a particular
collectors, art end. ing Audience
medium. 13.5 hours
dealers in the
art world

Identify national
and GAMABA
artists’ notable
works and their
contribution to
society.
Elements of art  Lecture  Power point  Analysis paper
Analyze the
 Visual discussion with presentation by group.
various
 Auditory illustration.  LCD
2,5,6,7, Identify the elements
 Combined  Reporting projector
8 elements of art. present in
visual,  Computer
auditory, and Arts/Performance  Books

Adopted December 19, 2017

 combined Discuss fusions and
arts. overlapping and
interrelated elements
Determine  Graffiti, poetry-
dominant performance,
elements performance art,
used in hybrid digital art
or modified art
expressions. Transcreation
 Music to text
Determine the  Text to dance
factors  Dance to visual
influencing
artists such as
distortion,
transformation
, appropriation
in an
experimental
or hybrid art
expression.
Principles of design  Lecture  Power point  Essay
Identify the
 Unity and harmony discussion with presentation  Collaborative
principles of
Create an  Rhythm, variation illustration  Books room design
design.
artwork  Balance and  Product design  Video
depicting the proportion critiquing presentation
2,3,7 Define and
translate
various  Emphasis and
principles of subordination (focal-
principles of
design. point)
design in an
artwork.
The rule of thirds
Identify various Reading the image  Lecture  Computer  Read and
2
planes in art.  Semiotic plane discussion  Books research about

Adopted December 19, 2017

  Iconic plane  Demonstration selected
Categorize and  Contextual plane simulation Western and
organize Asian art
information from Art history
different
sources.
Cave art, Egyptian and  Lecture  Power point  Creative Output
Identify the
Greek discussion presentation  Quiz
underlying  Creative  Video  Oral recitation
history,
Roman, Medieval presentation camera  Brochure about
philosophy of  Gallery walk  Computer their respective
the era or
Chinese Painting, Ukiyo-  Games  Video topics
Present the e (Japanese print)  Talk show editing  Long test
movements.
history and  Video application  Individual output
movements of Renaissance and documentary  Video
Classify the
the arts Mannerism, Baroque and presentation
various art
through a Rococo  Reading
movements by
timeline. articles
citing their
Neo-classicism,
important
1,2,6,7 Cite important Romantic and Realism
characteristics
characteristic
such as
in an artwork Impressionism, Post-
historical
based on the Impressionism
background,
era movement
factors,
(document Neo-impressionism
influential
and annotate
person, socio-
works) Symbolism, Art Nouveau
political issues,
and prevalent
Fauvism and
artists, art
Expressionism
forms, and
media.
Cubism, Futurism

Adopted December 19, 2017

 Abstract of non-
objective: Dadaism and
Surrealism,
Constructivism, De Still
Abstract expressionism
Optical Art, Pop Art,
Minimalism, Conceptual
Art

Photo-realism

Installation Art (Body Art,

Earth and Land,
Performance Art )
Second Preliminary Period
Instrumental music:  Lecture  Power point  Creative
 Baroque (Johann discussion presentation output/presenta
Pachebel, Antonio  Creative  Books tion with their
Vivaldi, Johan presentation own art
Sebastian Bach, based on the expressions
George Frederic interest of the through music,
Handel, Franz learner. video, dance,
Schubert) poetry, live
 Classical (Joseph painting film,
1,2,3,4 13.5 hours
Haydn, Wolfgang painting, film,
Amadeus Mozart, digital art, art,
Ludwig Van etc.)
Beethoven, Franz
Schubert)
 Romantic (Carl Maria
Von Weber, Frederic
Chopin, Robert
Schumann, Franz

Adopted December 19, 2017

 Liszt, Richard
Wagner, Jacques
Offenbach, Johannes
Brahms, Pyotr Ilych
Tchaikovsky, Nikolai
Rimsky, Korsakov,
Richard Strauss)
 Modern (Claude
Debussy, Arnold
Schoenberg, Maurice
ravel, John Cage,
Philip Glass)
Soul making (art  Lecture  Power point  Individual
making): discussion presentation reflective essay
 Crafting images  Simulation  Books  Quiz
 Crafting stories  Workshop  Art portfolio
1,7
 Crafting instruments
performance

7 da Vincian Principles
Characterize Narratives, appropriation,  Lecture  Reading  Creative output
and define borrowing, and discussion articles  Essay
narratives, ownership  Peer sharing
appropriation, Develop
borrowings, learners’ Posit five (5) acts of
and artistic ability in cultural appropriation
5,7,9 ownership of any form they 1. Object appropriation
the artists or would like to 2. Content
any agency in appropriate an 3. Style
the art world. art 4. Motif appropriation
5. Subject appropriation
Contextualize
classical

Adopted December 19, 2017

 notable works
into a certain
theme and
comment on a
certain issue,
either on a
personal or
societal level.
Draw out Textile art Soul, dreams  Video  Video  Reflective
metaphors and imagination documentary presentation essay
from local  Lecture  Books  quiz
myths so Tnalak process, Tnalak discussion  Graphical
learners will and T’boli art, Dagmay,  Illustration presentation
9,10
value cultural Pis-yabit Seputangan,  Mind mapping
roots. Inaul

Deepen
learners’
understanding
of imaging.
Documents Visual Elements in  Lecture  Power point  Quiz
Develops
changes and Philippine traditional  Workshop presentation  Individual
the shifting motifs and crafts output
Analyze how the learners’
environment Visual tapestry
line interpreted ability in
2,5,10 such as terrain, Decorative motifs and
and utilized in manipulating
texture, sound symbols, classification
traditional crafts. the elements
through fusion
of art.
of various
elements of art.
Midterm Examination
Soul and space:  Lecture  Power point  Oral recitation
Determine the
2,3  Torogan  Video presentation  Build miniature 13.5 hours
implications of
 Ifugao Bale documentary skeletal or

Adopted December 19, 2017

 soul and space  Bahay Kubo  Collaborative structural stilt
for our society  Bahay na Bato artistic work houses
 Other indigenous
Characterize houses
how Filipinos
utilize space to
determine its
implications for
their identities,
history, religion,
philosophy.
Discuss the Symmetry art Okir/Ukkil  Lecture  Books  Portfolio of
concept of Okir discussion Okir-inspired
in relation to  Demonstration artworks
Islamic art. workshop  Artistic output
Create symmetry art
Identify the
symmetry art
2,3,7 parts of
inspired by
Okil/Ukkil
Okir/Ukkil
Determine the
cultural
relevance of the
Okir
Improvisation in various  Lecture  Power point  Quiz
Utilize the art forms discussion presentation  Oral recitation
body as the Strengthen  Demonstration  Videos  Group
basic tool in learners; Contact-body  Simulation  Books presentation
4,9 expression initiative and improvisation (Flow,  Video
and artistic stacatto, chaos, lyrical, presentation
communicatio sensibilities. stillness)  Performance art
n simulation
Sound improvisation

Adopted December 19, 2017

 Theatre improvisation

Solving improvisational
challenges
Indigenous art  Lecture  Videos  Reflective essay
Trace and
summarize the
discussion  Power point  Quiz
development of
Appreciate Muslim art  Creative presentation  Exam
the arts, art
better the presentation  Books
2,3,11
appreciation
history and Christian art  Exhibit
development of
and aesthetics
Philippine arts. Contemporary art
in contemporary
art practice.
Practice movement
Final Term Examination

MAJOR COURSE OUTPUTS (MCO)

As evidence of attaining the course outcomes, learners are required to do and submit the following:
MCO CODE REQUIRED OUTPUT PERFORMANCE TARGET CO SATISFIED DUE DATE

MCO1 Compilation or Portfolio of all 100% of the learners will be able to

the outputs produced in every comply in every output. All the CO’s.
unit of the course.
MCO2 Art exhibit 100% of the learners will be able to
CO3
participate in art exhibit.

Adopted December 19, 2017

 ASSESSMENT TOOLS/RUBRICS
To follow.

GRADING SYSTEM
Grades/performance of students will be evaluated as follows:

First Prelim (15%) Second Prelim (15%) Midterm (30%) Final Term (40%)
Attendance – 5% Attendance – 5% Attendance – 5% Attendance – 5%
Quizzes – 30% Quizzes – 30% Quizzes – 30% Quizzes – 30%
Seat works/Assign – 15% Seat works/Assign – 15% Seat works/Assign – 15% Seat works/Assign – 15%
Examination – 50% Examination – 50% Examination – 50% Project/Exam – 50%
Total – 100% Total – 100% Total – 100% Total – 100%

COURSE POLICIES AND STANDARDS

Academic Policies Policies on Punctuality/tardiness

 All assignments are due on the listed date  Absences (Provide an early notification or send a
formal excuse letter)
 Be mindful with class schedule and time  Grace Period of 10 minutes
 No late assignments will be accepted except  3 lates = 1 Absent
(Emergency/unavoidable cases)  2 consecutive lates = Oral reprimand
 Be considerate and Help yourself
 If possible (EOP Zone)

Adopted December 19, 2017

 REFERENCES
 Gardner’s Art through the Ages: A Concise History of Western Art, Fred S. Kleiner, 3 rd ed.,2012, pp. 1-2
 Imagination in Teaching and Learning, Klerran Egan, 1992, pp. 12-37
 Nature and Young Children, 2nd ed., Encouraging Creative Play and Learning in Natural Environments, Ruth Wilson, 2012, pp. 1-17
 Art Perception and Appreciation, Ortiz et al., 1976, pp. 5-12
 The Humanities, Dudley and Faricy, 1968, pp. 5-22 (Nature of Art)
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 9-12, 15-21
 The Humanities, Dudley Faricy and Rice, 1968, pp. 5-12
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 9-12, 15-21, (Imagination) pp. 38-40
 Dayaw (6 episodes), Legarda, 2015, online
 Art Perception and Appreciation, Ortiz et al.,1978, pp. 27-32
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 27-32
 Cultural Center of the Philippines, Tuklas Sining, DVD
 “The Philosophical Concept of Beauty,” Jacques Maritain (from Creative Intuition in Art and Poetry), 1953, pp. 122-127
 Aesthetics and Art Theory, Osborne, 1970, pp., 104-107,142-144,171-191,226-283
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 27-34
 Cultural Appropriation and the Arts, Young, 2008, pp. 14-16
 Art Perception and Appreciation, Ortiz et al.,1978, pp. 14-16
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 27-34
 Cultural Appropriation and the Arts, Young, 2008, pp. 14-16
 Art Perception and Appreciation, Ortiz et al.,1978, pp. 14-16
 Myths and Symbols Philippines, Francisco Demetrio, SJ, 1978, pp. 406-411
 Alamat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 35-56
 MAKING THE THEATRE: The Craft of the Stage, Steven Patrick C. Fernandez, 2010, pp. 15-20
 “Pioneers of the Philippines Art,” video documentary directed by F. Capistrano-Baker, Ayala Museum, 2006, 29 min.
 Art Perception and Appreciation, Ortiz et al.,1978, pp. 14-26, 40-73
 Festival and Events Management, Yeoman et al., 2004, pp. 53-115
 The Role of the Art Critic, Flores in Paleta 5: A handbook for Visual Artist, ed. Hernandez, 2002, pp. 27-31
 How to Document One’s Work, Cajipe-Endaya, in Paleta 5: A handbook for Visual Artists, 2002, pp. 24-26

Adopted December 19, 2017

  How to Document a Structure, R.T. Jose, Balangkas, 2007, pp. 25-28
 Sining at Lipunan, Flores and De la Paz, 2000, pp. 24-26
 Art in Focus, Interactive Student ed., Gene A. Mittler, 2006, pp. 26-39 (Elements), pp. 40-49 (Principles)
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 61-95 (Elements), pp. 97-106 (Principles)
 Art Perception and Appreciation, Ortiz et al.,1978, pp. 75-179
 Merce Cunningham: Fifty Years, Vaughman and Harris, 1997, pp.10, 60-61, 100-101 (dance technique)
 Art in Focus, Interactive Student ed., Gene A. Mittler, 2006, pp. 26-39 (Elements), pp. 40-49
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 61-95 (Elements), pp. 93-97 (Principles)
 Image to Meaning: Essays on Philippine Arts, Alice Guillermo, 2001, pp. 1-16
 Gardner’s Art through the Ages: A Concise History of Western Art, Fred S. Kleiner, 3 rd ed., 2012, pp, 1-2
 Art through the Ages: A Global History. Kleiner, 15th ed., 2016, pp. 1032-1047 (South and Southeast Asia, 1200-1980), pp. 1048-1066 (Japan, 1333-1980),
pp. 994-1031 (Contemporary Art Worldwide), pp. 948-993 (Modernism and Postmodernism in Europe and America, 1945-1980)
 Art in Focus, Interactive Student ed., Gene A. Mittler, 2006, pp. 136-471 (classic), pp. 492-562 (modern art)
 Cave Art to Modern Art, In Fleming’s Arts and Ideas, 10th ed., Mary Warner Marien and William Fleming, 2005, pp. 1-654
 Art Perception and Appreciation, Ortiz et al.,1978, pp. 163-229
 Alampat: An introduction to Art Appreciation, Perez, Cayas, and Narciso, 2013, pp. 113-129
 Art Spoke, Robert Atkins, 1993, pp.43-415
 A World History of Art, 7 ed., Hugh Honour and John Fleming, 2009, pp. 356-845
 Music as Discourse: Semiotic Adventures in Romantic Music, Agawu, 2009
 The Human Image in the Arts, Fernandez, 2009, pp. 65-76
 Art Perception and Appreciation, Ortiz et al.,1976, pp. 98-121
 Who Needs Classical Music? Cultural Choice and Musical Value, Johnson, 2002
 Soulmaking, Narciso, 2016
 Mick Basa, The Soul Maker 2013, online
 Nature and Young Children 2nd ed.m Encouraging Creative Play and Learning in Natural Environments, Ruth Wilson, 2012, pp. 3-17
 Dela Cruz et. al., Art Republik, 2012, video, 10 episodes
 Cultural Appropriation and the Arts, Young, 2008, pp. 1-27
 Black Film as a Signifying Practice: Cinema, Narration and the African-American Aesthetic Tradition, Yearwood, 2000, pp. 124-129
 Hinabing Panaginip, Fruto Corre, bookmark video, 1999

Adopted December 19, 2017

  Myth, Mimesis and magic in the Music of the Tboli, Mora, 2005, pp. 66-68
 Alampat: An Introduction to Art Appreciation, Perez, Cayaz, and Narciso, 2013, pp.34-40 (imagination)
 Sinaunang Habi. Philippine Traditional Motifs and Crafts Processes, Mercelita Jose dela Cruz, 1982, pp. 18-34
 Ukkil: Visual Arts of the Sulu Archipalego, Ligaya Fernando-Alimabangsa, 2005, pp. 15-38
 Sourcebook of Philippine Traditional Motifs and Crafts Processes, Mercedita Jose Dela Cruz, 1982, pp. 18-34
 Ukkil: Visual Arts of the Sulu Archipelago, Ligaya Fernando-Amilabangsa, 2005, pp. 15-38
 The Maranaw Torogan, Madale, 1996, pp. 7-31
 Ukkil: Visual Arts of the Sulu Archipelago, Ligaya Fernando-Amilabangsa, 2005, pp. 174-175
 Choreography: A basic Approach Using Improvisation, Minton, 1986, pp. 18-19
 Improvisation for the Theater, Spolin, 3rd ed., 1999 (entire book)
 Culture of Improvisation, Antolihao, 2004, pp. 83-84
 The Wave Dance, roth, 2008, online
 The Way of Improvisation, Morris, 2011, online
 Local Community Immersion
 Gallery/studies or workshop vis

Prepared by: Reviewed by/Recommending Approval:

Dr. Magdalena R. Mendillo Dr. Soledad M. Roguel

(Instructor/Professor) (Dean)

Adopted December 19, 2017