MISSION: We are a community of service-oriented individuals committed to lifelong learning and supported by CHED, aims to uplift lives through

academic excellence and dedicated public service. Building futures with graduates who are strong in their global outlook, cultural identity, social
responsibility and a responsible contributor to our community, municipality and country.

VISION: King Thomas Learning Academy, Inc. is a premier private institution of 21 st century curriculum-based skills and standards that produces
individuals who are responsible to the changing demands of development in the Philippines and the world.

COURSE:
Course Title: ART APPRECIATION

No. of Units: 3

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.

This course includes mandatory topics on population education in the context of population and demography.

Learning Outcomes:
At the end of the courses 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.

Skills
1. Analyze and appraise works of art based on aesthetic value, historical context, tradition, and social relevance.
2. Mount an art exhibit (concept developments 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.

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

COURSE OUTLINE

Week Topics
1 Assumptions and Nature of Arts: Creativity and 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 Visual Elements in the Philippine Traditional Motifs and Crafts
13-18 Soul-making (Soul, Sound, Structure)
Workshops on Improvisations, Installation, Transcreation
Local Arts
 The Contemporary World Learning Plan

Learning Outcome Topic Methodology Resources Assessment

WEEK 1: ASSUMPTIONS AND NATURE OF ARTS: CREATIVITY AND IMAGINATION
 Characterize artistic Art History, Art Group discussion/Oral Gardner’s Art through the Ages: A Essay:
expression based on Appreciation, Recitation Concise History of Western Art} Fred If you were an artist}
personal experiences Why study humanities? S. Kleiner, 3rd ed., 20121 pp. what kind of artist will
Art, Creativity,
with art. What is art history? 1-2 you be?
 Differentiate art Imagination and the What is art
history from art Expression appreciation? Imagination in Teaching and What art field will you
appreciation; Discuss Learning, Kieran Egan, 1992, pp. explore? Why?
the nature of art's Why do people create 12-37
preliminary works of art? How can you utilize the
expression. Nature and Young Children, 2nd arts to express yourself,
What is creativity? ed., Encouraging Creative Play your community, and your
Why is creativity and Learning in Natural relation to others and with
necessary in artmaking? Environments, Ruth Wilson, 2012, pp.
the earth?
When can you say 1-17
that a person is
creative?

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

WEEK 2: FUNCTIONS OF ART AND PHILOSOPHY/SUBJECT AND CONTENT

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

 Apply concepts Philosophical Import of Discuss basic Tuklas Sining, DVD Reflection questions:
and theories on Art philosophical Does art always have a
perspectives such as: "The Philosophical Concept of function?
beauty and Integrity
aesthetics in real Beauty," Jacques Maritain (from
Proportion/ (Suggested topics) If artwork did not have
life scenarios. Creative Intuition in Art and
Consonance/ Art as mimesis (Plato) any function, will it remain
Poetry), 1953, pp. 122-127
Radiance/Clarity Art as representation art?
(Aristotle) Aesthetics and Art Theory,
Art for art's sake (Kant) Osborne, 1970, pp. 104-107,142144,
Art as an escape 171-191 s 226-283
Art as functional
 Differentiate content Subject type: Lecture Alampat: An Introduction to Art Graded recitation
from subject. Representation Appreciation, Perez, Cayas, and
 Classify artworks (with subject) and Provide classic Narciso, 2013, pp. 27-34
according to subject. nonrepresentational examples
 Analyze how artists (without subject) Cultural Appropriation and the Arts,
present their subjects What are the two types Young, 2008, pp. 1-27
in relation to the real Source of subject of representing subject?
subject. Art: Perception and Appreciation,
(nature, history, Greek What are the sources Ortiz et al., 1978, pp. 14-26
and and kinds of subject?
Roman mythology
Assign students to
Judeo-Christian bring either digital or
tradition, sacred printed copies of
oriental texts, other Filipino contemporary
works of art) artworks to be
presented orally or
Kinds of subject using Powerpoint.
(history} still life,
animals, figures, Identify and discuss
nature, landscape, the subject, source,
seascape, cityscape, type, and kind of
mythology, myth, subject.
dreams, and fantasies
WEEKS 3-4: ART AND ARTISANS: PRODUCTION PROCESS, MEDIUM, TECHNIQUE, CURATION
 Identify the medium Artists and Artisans Video Documentary Myths and Symbols Philippines, Oral recitation
in various forms of Francisco Demetrio, SJ, 1978, pp.
art, viz., visual, Managers, curators, Lecture 406-411 Quiz
auditory, and buyers, collectors, art Topics to be discussed:
combined arts. dealers Mini-exhibit of
Alampat: An Introduction to Art
 Define an artist's or What is the difference artists}/artisans' work
artisan's medium and Production process between artists and Appreciation, Perez, Cayas, and
technique. artisans? What is the Narciso, 2013, pp. 35-56
(preproduction,
 Define the role of production, and relationship between
managers, curators, artists and artisans Q "Pioneers of Philippine Arts" video
postproduction)
buyers, collectors, art documentary directed by F
dealers in the art Medium, technique Which is more Capistrano-Baker, Ayala Museum,
world. approach (in visual important, the artist or 20061 29min.
 Differentiate between arts, auditory, and the artwork?
artists' and artisan combined arts) Art: Perception and Appreciation,
approach/ technique What are medium and Ortiz et al., 1978, pp. 14-26, 40-73
toward a particular GAMABA technique?
medium. National Artists Festival and Events Management,
 Understand that the What are new trends or Yeoman et al., 2004, pp. 53 -115
artisan's work is an Events/Exhibits/ practices in art?
end in itself and the Managing The Role of the Art Critic, Flores, in
artist's work is a What is the role of the Paleta 5: A Handbook for Visual
Audience following figures: Artists, ed Hernandez, 2002, pp. 27-
means to an end.
 Identify national and managers, curators’ 31
GAMABA artists' buyers, collectors, art
notable works and dealers) in the
community? How to Document One's Work,
their contribution to
Cajipe-Endaya, in Paleta 5: A
society.
Students will be Handbook for Visual Artists, 2002,
assigned to discuss pp. 24-26
the characteristics of
different art How to Document a Structure, R T
expressions. Jose, Balangkas, 20071 pp. 25-28
WEEKS 5-6: ELEMENTS AND PRINCIPLES OF ARTS
 Identify the elements Elements of art Lecture Alampat: An Introduction to Art Quiz
of art. Visual Appreciation, Perez, Cayas, and
 Analyze the various
Auditory Illustration Narciso, 2013, pp. 61- 95 Oral recitation
elements present in
visual, auditory, and Combined (Elements)s pp. 97-106 (Principles)
combined arts. Assign students to Analysis paper by group:
 Determine dominant Arts/Performance art discuss the elements Art: Perception and Appreciation, Choose a contemporary
elements used in of the 7 arts (visual Ortiz et al., 1978, pp. 75-179 work and discuss the
hybrid or modified art Transcreation arts, film, literature,
dance, film, Merce Cunningham• Fifty Years, subject) medium, and
expressions. Music to text
 Determine the factors architecture, music), Vaughan and Harris, 1997, pp. 10, technique; Discuss further
Text to dance then conduct an FGD how the artist utilized the
influencing artists 60-61, 100-101 (dance technique)
Dance to visual to look into the elements and principles of
such as distortion,
transformation, variations,
design in an artwork
appropriation in an overlapping, dominant
experimental or elements in art
hybrid art expression. production in a
particular art
expression

Suggested topic
How do artists
recreate, transform, or
translate one artform
into another work?

Suggested exercises:
Analog drawing
Room design
Visual tapestry
Soil/coffee art (value)
Illustration (lines,
 texture, form)
Scribbling souls (color)
Creative writing
(erasure)
Dula-tula (poetry
performed)
Poem writing
Performance art
WEEKS 7-12: VISUAL ELEMENTS IN THE PHILIPPINE TRADITIONAL MOTIFS AND CRAFTS
 Analyze how line is Visual Elements Lecture “Modular Approach to Art Quiz
interpreted and Decorative Methods Appreciation” by Inocian, R. et al. pp.
utilized in traditional 309-340 Oral recitation
crafts. The Contemporary
 Manipulate the
Arts and the Filipino
elements of art.
 Document changes Artists
and the shifting
environment such as Practice and
terrain, texture, Movement of the
sound through fusion Philippine Visual Arts
of various elements of
art. Key Movements in the
Philippine Arts

WEEKS 13-18: SOUL-MAKING (SOUL, SOUND, STRUCTURE)/WORKSHOPS ON IMPROVISATIONS, INSTALLATION,

TRANSCREATION/LOCAL ARTS
 Discuss the concept of Soulmaking Lecture Demonstration Soulmaking, Narciso, 2016 Individual reflective
"soulmaking". (artmaking): essay
Simulation Mick Basa, The Soul Maker 2013,
 Develop students' Crafting images online
artistic potentials Crafting stories
Workshop
through soulmaking. Crafting instruments Nature and Young Children,
 Enhance students' performance
2nd ed., Encouraging
sensitivity and
 awareness toward Creative Play and Learning in
their environment. Natural Environments, Ruth Wilson,
 Extend to the 2012, pp. 3-17
immediate community
Dela Cruz et al. Art Republik, 2012,
the students' art
works as a form of videos 10 episodes
service learning (e.g.
recyclable materials)
 Determine the Soul and space: Lecture The Maranaw Torogan, Madale, Oral recitation
implications of soul Torogan 1996s pp. 7-31
Video documentary Build miniature skeletal
and space for our Ifugao Bate or structural stilt houses
society. Bahay Kubo Collaborative artistic
 Characterize how Bahay na Bato Group activity with
work
Filipinos utilize space Other indigenous rubrics
to determine its houses
implications for their
identities, history,
religion, philosophy.

Required Readings and Other Materials

 Inocian, R. et al. (2021). “Modualr Approach to Art Appreciation”. 10B Boston St., Brgy. Kaunlaran, Quezon City:Lorimar Publishing, Inc.

Suggested Readings and Other Materials

 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, 1848—1944. New York: Abbeville Press.
 Dela Cruz, Mercedita Jose (1982) Sourcebook of Philippine Traditional Motifs and Crafts Processes. Manila: Philippine Committee for [the
Unesco]
 Dudley, Louise and Austin Faricy (1968) The Humanities: Applied Aesthetics. 4 th ed. New York' McGraw-Hill.
 Demetrio, Francisco (1978) Myths and Symbols Philippines. Manila: National Bookstore
  Egan, Kieran (1992) Imagination in Teaching and Leaming: The Middle School Years. Chicago: University Chicago
 Fernandez Steven Patrick (2010) Making Theatre: The Craft of the Stage. Iligan City: MSU-lligan Institute of Technology, Mindanao State
University.
 Flores, Patrick (2002). The Role of the Art Critic. {n Paleta 5: A Handbook for Visual Artists, ed. Eloisa May Hernandez, pp. 27-31. Manila:
NCCA.

Grading System

There are two main components to consider in the computation: the CLASS STANDING and TERM EXAMINATIONS. Class standing has the following
components: tests/quizzes, project/report, portfolio to include reflections, module activities and attendance. Each of the components will be
accorded weights in the computation.

The Term Examination is a summative test / long test given on the last week of the six (6) weeks in a grading period: the Prelims, the Midterms and
the Finals.

 MODE FOR COMPUTING PRELIMS / MIDTERM / FINALS

PERCENTAGE CONVERTED RAW SCORE (CRS)
GRADING COMPONENT
REGULAR SEMESTER SUMMER
CLASS STANDING 60% 60%
PRELIMS / MIDTERMS / FINALS 40% 40%

COMPONENT WEIGHT TOTAL

CLASS STANDING 60%
Tests/Quizzes 10%
Projects/Reports/Assignments 20%
 Performance Tasks 20%
Attendance 10%
TERM EXAMINATIONS (Prelims, Midterms and Finals) 40%
TOTAL 100%

SYLLABUS AKNOWLEDGEMENT
I affirm that I have read the entire syllabus for the course ART APPRECIATION and I understand the information and the responsibilities specified.

Prepared by:
MYLENE B. MORALES
Associate Professor I
Noted by:
JULINDA S. NARVASA
Associate Dean
Approved by:

GELLI N. PAJE
Vice President, Academic Affairs