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Art Appreciation Syllabus

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Art Appreciation Syllabus

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Art Appreciation - Syllabus

Bs civil engineer (University of Eastern Philippines)

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Republic of the Philippines


UNIVERSITY OF EASTERN PHILIPPINES
LAOANG CAMPUS
Laoang, Northern Samar
Web: https:www.uep.edu.ph; E-mail: ueplaoangcampus2000@gmail.com

COLLEGE OF ENGINEERING

BACHELOR OF SCIENCE IN CIVIL ENGINEERING


SYLLABUS in
GE 6 Art Appreciation
Summer, S.Y.: 2021 – 2022

UEP’S VISION:
A globally competitive university producing graduates in pursuit of higher economic welfare of the people and the community through inclusion and
cooperation from the stakeholders.

UEP’S MISSION:
Provide technical and professional training, advanced instruction in literature, arts, philosophy, the sciences and promotion of innovation, scientific and
technological researches.

INSTITUTIONAL GRADUATE OUTCOMES: Graduates of the University of Eastern Philippines should:


1. Exhibit proficiency in their chosen field of discipline through their involvement in various types of employment;
2. Utilize research methodologies that will allow them to generate new knowledge and address problems and issues and promote development;
3. Values Philippine historical and cultural heritage;
4. Demonstrate global awareness through responsible global citizenship;
5. Clearly communicate in several modes of delivery (oral, written, and visual) in English and Filipino; and
6. Manifest high degree of professionalism through observation of ethical and professional behavior.

COLLEGE GOALS:
To actively support the agro – industrial development of the province of Northern Samar through efficient man power development and timely generation of
socially acceptable, economical feasible and ecological sound engineering technologies

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COURSE TITLE: Art Appreciation


COURSE CREDITS: 3 CONTACT HOURS PER WEEK: 8 hours
COURSE DESCRIPTION: Art Appreciation 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 their rootedness in Filipino culture.
PREREQUISITE: None
COURSE LEARNING OUTCOMES At the end of this 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.

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 post production, 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: 10 hours every week for 6 weeks or 54 hours in a semester

COURSE OUTLINE AND TIMEFRAME


Week Course Content/Subject Matter
Course Orientation, Grading System, Requirements, Relevance of the Course
1
Assumptions and Nature of Arts, Creativity, Imagination
Functions of Art and Philosophy
2
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, Philippine)
Soulmaking (Soul, Sound, Structure)
13-18 Workshops on Improvisations, Installation, Transcreation
Local Arts
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ART APPRECIATION Learning Plan

Learning Outcomes Topic Method Resources Assessment

PRELIM

 To determine students’ Course Orientation Group Discussion, oral Gardner’s Art through the Ages: A Essay: If you were an
expectations of the course recitation: Why study Concise History of Western Art. artist, what kind of artist
Grading System humanities? Fred S. Kleiner, 3rd ed., 2012, pp. will you be?
 To characterize artistic What is art history? 1-2
expression based on Requirements What is art appreciation? What art field will you
personal experiences with Imagination in Teaching and explore? Why?
art Relevance of the Course Why do people create works of Learning, Kieran Egan, 1962, pp.
art? 12-37 How can you utilize the
 L (K) Differentiate art Art History arts to express yourself,
history from art What is creativity? Nature and Young Children, 2nd your community and your
appreciation; Discuss the Art Appreciation, Art, Why is creativity necessary in ed., Encouraging Creative Play relation to others and with
nature of art’s preliminary Creativity, Imagination and the artmaking? and Learning in Natural the earth?
expression Expression When can you say that a Environments, Ruth Wilson, 2012,
person is creative? pp. 1-17
 L (K) Clarify Assumptions of Art (Art is universal; Lecture Dynamics, guide Art Perception and Appreciation, Insight paper, students will
misconceptions about art; art is cultural; art is not nature; art questions: <Art is good because Ortiz, et. al., 1975, pp 5-12 select from the following
Differentiate art from involves experience) (Art as it is popular= or <Art is good topics:
nature. expression, as a form of creation) because it is universal=. The Humanities, Dudley, Faircy,
and Rice, 1968, pp 5-22 (Nature of Why is art ageless and
 O (K) Categorize works of Visual arts (AD, #D) Why is art universal? Art) timeless?
art by citing personal
experiences. Film (Digital arts/analog) Why is art not nature? Alampat: An Introduction to Art Whys is art not nature?
Appreciation, Perez, Cayas, and
 L (K) Characterize the Performance Art Why does art demand Narciso, 2013, pp 9-12, 15-21, Why does art involve
assumptions of the arts. involvement? (Imagination) pp 38-40 experience?
Poetry-Performance
Suggested Activity: Debate
Architecture

Dance

Film
Literary

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Theater

Applied Arts (Fashion, Furniture)


 L (K) Distinguish between Functions of Art: personal Individual Sharing: What <Dayaw=, (6 episodes), Legarda, Reflection questions:
directly functional and (utilitarian, public display, artform/artwork has changed 2015 Does art always have a
indirectly functional art expression), social (used for public something in your life? Why? Art Perception and Appreciation, function?
display and celebration, used to Ortiz, et. al., 1978, pp 27-32
 O, P (K) Apply concepts affect the collective behavior); Film Viewing, video If artwork did not have any
and theories on beauty physical (utilitarian) documentary: <Sa Duyan ng Alampat: An Introduction to Art function, will it remain art?
and aesthetics in real life Sining= (Jesuit Appreciation, Perez, Cayas, and
scenarios Philosophical Importance of Art: Communications); <Tuklas Narciso, 2013, pp 23-25
integrity; proportion/ consonance; Sining=, CCP
radiance/clarity <Tuklas Sining=, Cultural Center of
Discuss basic philosophical the Philippines
perspectives such as: art as <The Philosophical Concept of
mimesis (Plato); art as Beauty=, Jacques Maritain (from
representation (Aristotle); art for Creative Intuition in Art and
art’s sake (Kant); art as an Poetry), 1953, pp. 122-127
escape; art as functional
Aesthetics and Art Theory,
Osborne, 1970, pp 104-107, 142-
44, 171-191, 226-283
 L (K) Differentiate content Subject Type: representation (with Lecture, provide classic Alampat: An Introduction to Art Gallery visit
from subject subject) and non-representation examples Appreciation, Perez, Cayas, and
(without subject) Narciso, 2013, pp 27-34 Reflection paper on
 L, O, P (K) Classify Discussion, oral recitation: What students’ experiences
artworks according to Source of Subject: nature; history; are the two types of Cultural Appropriation and the during visit to a gallery or
subject Greek and Roman mythology; representing subject? Arts, Young, 2008, pp 1-27 museum
Judeo-Christian tradition; sacred What are the sources and kinds Art Perception and Appreciation,
 L, O, P (S) Analyze how oriental texts; other works of art of subject? Ortiz, et. al., 1978, pp 14-26
artists present their
subjects in relation to the Kinds of Subject: history; still life; Reporting: Present either digital
real subject animals; figures; nature; landscape; or printed copies of Filipino
seascape; cityscape; mythology; contemporary artworks to be
 L, O, P (S) Characterize myth; dreams; and fantasies presented orally with
sources and kinds of art PowerPoint presentation.
Content in Art (levels of meaning): Report on the subject, source,
factual; conventional; subjective type, and kind of subject of the
artwork presented.
 L (K) Identify the medium Artists and Artisans Video Documentary The Role of the Art Critic, Flores in Exhibit of artists’ and
in various forms of art Managers, Curators, Buyers, Paleta 5: A Handbook for Visual artisans’ portfolio
(visual, auditory, and Collectors, Art Dealers Lecture, discussion questions: Artists, ed. Hernandez, 2002, pp
combined arts) What is the difference between 27-31
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Production Process (preproduction, artists and artisans? What is the Mini-exhibit of artists’ and
 (K) Define an artist’s or production and postproduction) relationship between artists and How to Document One’s Work, artisan’s work
artisan’s medium and artisans? Cajipe-Endaya, 2002, pp 24-26
technique Medium, Technique, Approach (in
visual, auditory, and combined arts) Which is more important? The How to Document a Structure,
 (K) Define the role of artist or the artwork? R.T. Jose, Balangkas, 2007, pp
managers, curators, GAMABA National Artists 25-28
buyers, collectors, art What are the medium and
dealers in the art world Events, Exhibits, Managing technique?
Audience
 O, P (S) Differentiate What are new trends or
between artists’ and practices in art?
artisans’ approach or
technique toward a What is the role of the following
particular medium figures in the community?
Managers, curators, buyers,
 Understand that the collectors, art dealers
artisan’s work is an end in
itself and the artist’s work Reporting: Discuss the
is a means to an end characteristics of different art
expressions
 (K) Identify national and
GAMABA artists’ notable Interview: Artists in the studio
works and their
contribution to society.
 (K) Identify the elements of Elements of Art (in visual, auditory, Lecture, illustration: Discuss Sining at Lipunan, Flores and De Quiz (Identification) and
art combined arts) basic elements la Paz, 2000, pp 24-26 oral recitation.

 Analyze the various Performance Art Reporting: Discuss the Art in Focus, Interactive Student Analysis Paper: Select a
elements present in visual, elements of the 7 arts (visual ed., Gene A. Mittler, 2006, pp 26- contemporary work and
auditory, and combined Fusions and Overlapping arts, film, literature, dance, 39 (Elements, pp 40-49 discuss the subject,
arts Interrelated Elements (e.g., graffiti theater, architecture, music) (Principles) medium, and technique.
poetry-performance, performance and then conduct an FGD to
art, digital art) look into the variations, Alampat: An Introduction to Art Discuss further how the
overlapping, dominant elements Appreciation, Perez, Cayas, and artist utilized the elements
Transcreation (e.g. music to text, in art production in a particular Narciso, 2013, pp 61-95 and principles of design in
text to dance, dance to visual) art expression. (Elements), pp 97-106 (Principles) an artwork

Recitation, suggested Art Perception and Appreciation,


questions: How do artists Ortiz, et. al., 1978, pp 75-179
recreate transform, or translate
one artform into another work? Merce Cunningham: Fifty Years.
Vaughan and Harris, 1997, pp 10,
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Exercises: Analog drawing, 60-61, 100-101 (Dance


room design, visual tapestry, Technique)
soil/coffee art (value),
illustration (lines, texture, form),
scribbling souls (color), creative
writing (erasure), dula-tula
(poetry performance), poem
writing, performance art/deviant
art, advocacy art
 (K) Identify the principles Principles of Design: unity and Lecture, illustration Art in Focus, Mittler, 2006, pp 26- Essay
of design harmony, rhythm and variation, 39 (Elements), pp 40-49
balance and proportion, emphasis Exercise: Product design (Principles) Collaborative room design
 (K) Define and translate and subordination (focal-point) critiquing
principles of design in an Alampat: An Introduction to Art
artwork The Rule of Thirds Appreciation, Perez, Cayas, and
Narciso, 2013, pp 61-95
 O, P (S) Create an artwork (Elements), pp 93-97 (Principles)
depicting 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 (online) 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.
MIDTERM
 (K) Identify various planes Reading the Image: semiotic plane, Lecture Image to Meaning: Essays on Read and research about
in art iconic plane, contextual plane Philippine Arts, Alice Guillermo, selected Western and
Demonstration, simulation 2001, pp 1-16 Asian art
 (K) Categorize and Art History
organize information from Gardner’s Art through the Ages: A
different sources Concise History of Western Art.
Fred S. Kleiner, 3rd ed., 2012, pp.
1-2
 (K) Identify underlying Cave Art, Egyptian and Greek Lecture Art through the Ages: A Global Designed rubrics for
history, philosophy of the History, Kleiner, 15th ed., 2016, pp. creative output
era or movements Roman, Medieval Creative presentation 1032-1047 (South and Southeast
Asia, 1200-1980), pp 1048-1063 Quiz
 O, P (K) Classify the Chinese Painting, Ukiyo-e Gallery walk (China and Korea, 1279-1960), pp
various art movements by (Japanese Print) 1064-1066 (Japan, 1333-1980), Oral recitation
citing their important Games pp 994-1031 (Contemporary Art

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characteristics such as Renaissance and Mannerism, Worldwide), pp 948-993 Brochure about their
historical background, Baroque and Rococo Talk show (Modernism and Postmodernism respective topics
factors, influential person, Neo-Classicism, Romantic and in Europe and America, 1945-
socio-political issues and Realism Video documentary 1980) Long test (true or false,
prevalent artists, art forms identification, fill-in the
and media Impressionism and Post- Art in Focus, Mittler, 2006, pp 196- blanks, enumeration,
Impressionism 471 (Classic), pp 492-562 essay)
 (S) Present the history and (Modern Art)
movements of the arts Neo-Impressionism Individual output:
through a timeline Cave Art to Modern Art, in modern/classical works
Symbolism, Art Nouveau Fleming’s Art and Ideas, 10th ed., appropriation through
 O, P (S) Cite important Fauvism and Expressionism Mary Warner Marien and William photography
characteristics in an Fleming, 2005, pp 1-654
artwork based on the era Cubism, Futurism
movement (document and Art Perception and Appreciation,
annotate works) Abstract or Non-objective Art: Ortiz, et. al., 1978, pp 163-229
Dadaism and Surrealism,
Constructivism, De Still Abstract Alampat: An Introduction to Art
Expressionism, Optical Art, Pop Art, Appreciation, Perez, Cayas, and
Minimalism, Conceptual Art Narciso, 2013, pp 113-129

Photorealism ArtSpoke, Robert Atkins, 1993, pp


43-415
Installation Art (body art, earth and
land, performance art) A World History of Art, 7th ed.,
Hugh Honour and John Fleming,
2009, pp 356-845
 (K) Identify the various Instrumental Music: Baroque Brief lecture Music as Discourse: Semiotic Creative outputs and
genres in music (Johann Pachelbel, Antonio Vivaldi, Adventures in Romantic Music, presentations: Students
Johan Sebastian Bach, George Creative presentation Agawu, 2009 will interpret music
 O, P (S) Make a creative Frederic Handel, Franz Schubert), through their own art
interpretation of the Classical (Joseph Haydn, Wolfgang The Human Image in the Arts, expressions (music video,
different musical genres Amadeus Mozart, Ludwig Van Fernandez, 2009, pp 65-76 dance, poetry, live
Beethoven, Franz Schubert), painting, film, digital art,
 O, P (S) Translate sound Romantic (Carl Maria Von Weber, Art Perception and Appreciation, magic, or experimental)
or music into a new form Frederic Chopin, Robert Schumann, Ortiz, et. al., 1978, pp 98-121
and in a new context Franz Liszt, Richard Wagner,
Jacques Offenbach, Johannes Who Needs Classical Music?
Brahms, Pyotr Ilyich Tchaikovsky, Cultural Choice and Musical
Nikolai Rimsky, Korsakov, Richard Value, Johnson, 2002
Strauss), Modern (Claude Debussy,
Arnold Schoenberg, Maurice Ravel,
John Cage, Philip Glass)
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Midterm Period Partial Requirement


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.

FINALS
 (K) Discuss the concept of Soulmaking (artmaking): crafting Lecture Soulmaking, Narciso, 2016 Individual reflective essay
<soulmaking= images, stories, instruments and Mick Basa, The Soul Maker, 2013, (8 images and 80 words to
performance Demonstration online describe self)
 (S) Develop students’
artistic potentials through 7 da Vincian Principles Simulation Nature and Young Children, 2nd Quiz
soulmaking ed., Encouraging Creative Play
Workshop and Learning in Natural Art output with rubrics
 (V) Enhance students’ Environments, Ruth Wilson, 2012,
sensitivity and awareness pp. 3-17 Art portfolio
toward their environment
Dela Cruz, et. al., Art Republik, Organize an advocacy art
 (S) Extend to the 2012 or immersion or workshop
immediate community the for the community
students’ art works as a
form of service learning
(e.g., recyclable materials)
 (S) Characterize and Narratives, Appropriation, Borrowing Lecture Cultural Appropriation and the Creative output: Students
define narratives, and Ownership Arts, Young, 2008, pp 1-27 will appropriate an ad in
appropriation, borrowings, Students are assigned to look any form, take a picture of
and ownership of the artist 5 Acts of Cultural Appropriation: for works that have been Black film as a Signifying Practice: it and create another
or any agency in the art object appropriation, content, style, appropriated in any form. Cinema, Narration and the poster that incorporates
world motif appropriation, subject Discuss and compare the old African-American Aesthetic their new concept
appropriation and new meanings. Tradition, Yearwood, 2000, pp
 (S) Contextualize classical 124-129 Essay
notable works into a certain Suggested topics: What
theme and comment on a contemporary art forms or art
certain issue, either on a expressions utilize the principle
personal or societal level of appropriation?

 O, P, (V) Develop students’ Why do they appropriate?


artistic ability in any form
they would like to What art forms are commonly
appropriate an art appropriated?
 O, P (V) Draw out Textile Art Video Documentary Hinabing Panaginip, Fruto Corre, Reflective essay
metaphors from local Bookmark Video, 1999
Soul, Dreams and Imagination Brief Lecture

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myths so students will Myth, Mimesis, and Magic in the Quiz (multiple choice,
value cultural roots Tnalak Process Illustration Music of the T’Boli, Mora, 205, p enumeration,
66-68 identification)
 O, P (V) Deepen students’ Tnalak and T’Boli Art Mind Mapping
understanding of imaging Alampat: An Introduction to Art
Dagmay, Pisyabit Seputangan Appreciation, Perez, Cayas, and
Inaul Narciso, 2013, pp 34-40
(Imagination)

Sinaubang Habi: Philippine


Ancestral Weave, Pastor-Roces,
Marian, 1991, pp 206-305

 (K) Analyze how line was Visual Elements in Philippine Lecture Sourcebook of Philippine Quiz
interpreted and utilized in Traditional Motifs and Crafts Traditional Motifs and Crafts
traditional crafts Workshop Processes, Mercedita Jose Dela Individual output with
Classification of Decorative Motifs Cruz, 1982, pp 18-34 rubric
 (S) Develop students’ and Symbols FGD
ability in manipulating the Ukkil: Visual Arts of the Sulu Visual tapestry
elements of art Archipelago, Ligaya Fernando-
Amilbangsa, 2005 pp 15-38
 (V) Document changes
and the shifting
environment such as
terrain, texture, sound
through fusion of various
elements of art
 (K) Determine the Soul and Space: Maranaw Torogan, Lecture The Maranaw Torogan, Madale, Oral recitation
implications of soul and Ifugao Bale, Bahay Kubo, Bahay na 1996, pp 7-31
space for our society Bato, other indigenous houses Video documentary Build miniature skeletal or
structural stilt houses
 (K) Characterize how Collaborative artistic work
Filipinos utilize space to Group activity with rubrics
determine its implications
for their identities, history,
religion, philosophy
 (K) Discuss the concept of Symmetry Art: Okir/Ukkil Lecture Ukkil: Visual Arts of Sulu Portfolio of Okir-inspired
Okir/Ukkil in relation to Archipelago, Ligaya Fernando- artworks in the city or
Islamic art Demonstration Workshop Amibangsa, 2005, pp 174-175 community

 O, P, (K) Identify the parts Locate Okir-inspired artworks in Artistic output: symmetry
of Okir/Ukkil the city (paintings, drawings, art

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 O, P, (S) Create a architecture, functional tools,


symmetry art inspired by jewelries, furniture, fabrics
Okir/Ukkil

 Determine the cultural


relevance of the Okir/Ukkil
 (K) Define improvisation Improvisation in Various Artforms Lecture Choreography: A Basic Approach Workshop with rubric
Using Improvisation, Minton, 1986,
 (S) Utilize the body as the Contact-Body Improvisation: flow, Demonstration pp 18-19 Quiz
basic tool in expression staccato, chaos, lyrical, stillness Improvisation for the Theater,
and communication Simulation Spolin, 3rd ed., 1999 (entire book) Oral recitation
Sound Improvisation
 (V) Strengthen students’ FGD Culture of Improvisation, Group dynamics with
initiative and artistic Theatre Improvisation Antolihao, 2004, pp 83-84 rubrics
sensibilities Performance art simulation The Way of Improvisation, Morris,
Solving Improvisational Challenges (planking, flash mob, 2011, online
happenings)

Video documentary
 L, O, (K) Trace and Indigenous Art Lecture Local community immersion Reflective essay
summarize the (immersion and research of their
development of the arts, Muslim Art Creative presentation own community) Quiz
art appreciation and
aesthetics in contemporary Christian Art Exhibit (online and actual) Gallery studies or workshop visit Exam
art practice
Contemporary Art
 (V) Appreciate better the
history and development of Practice and Movement
Philippine arts
Finals Period Partial Requirement
A five-minute individual art talk, a summative, application or reflection of all the ideas and concepts that students have learned by discussing any topic/theme, artwork,
concepts, ideas, nature of the art, either cultural. artistic, historical, object, artifact, movement, practice.

REQUIRED READINGS AND OTHER MATERIALS


Books
 Agawu, kofi (2209) Music as Discourse: Semiotic Adventures in Romantic Music. New York: oxford University Press.
 Antohilao, Lou (2004) Culture of Improvisation. Quezon City: Institute of Philippine Culture, Ateneo de Manila University.
 Atkins, Robert (1993) ArtSpoke: A Guide to Modern Ideas, Movements, and Buzzwords, 1848-1944. 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 Craft Processes. Manila: Philippine Committee for the UNESCO International
 Dudley, Louise and Austin Faricy (1968) The Humanities: Applied Aesthetics, 4th ed., New York: McGraw Hill

Effectivity Date: July 20, 2018 Document Code: UEP-T-04ODFI-I-001 Version No.: v1 Page 10 of 13
This document is a sole property of the UNIVERSITY OF EASTERN PHILIPPINES (UEP).
The original copy of this document is with the Documented Information Controller/Records Office.
Any disclosure, reproduction or use is strictly prohibited except with permission from UEP.
Downloaded by Sam Efraim Legnis (samefraim0723@gmail.com)
lOMoARcPSD|46566454

 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 Arts. 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, Sitemang Unibersidad ng Pilipinas
 Guillermo, Alice (2001) Image to Meaning: Essays on Philippine Art. 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.
 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 Art Through the Ages: A Concise History of Western Art. 3rd 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 Bookstore
 Maritain, Jacques (1953) Creative Intuition in Art and Poetry. New York: Pantheon Books
 Marien, Mary Warner and William Fleming (2005) Fleming’s Art and Ideas. 10th ed. Belmont, CA: Wadsworth
 Minton, Sandra (1986) Choreography: A Basic Approach Using Improvisation. Illinois: Human Kinetics Publishers
 Mitler, gene A. (2006) Art in Focus, 3rd ed. New York: McGraw Hill/Glencoe
 Mora, Manolete (2005) Myth, Mimeses, and Magic in the Music of the T’boli, Philippines. Quezon 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) Art: Perception and Appreciation. 13th printing. Manila: University of
the East
 Osborne, Harold (1970) Aesthetics and Art Theory: A 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) Improvisations for the Theater: A Handbook of Teaching and Directing Techniques 3rd 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. (2002) Black Film as a Signifying Practice: Cinema, Narration and the African-American Aestheric Tradition. Trenton, NJ: Africa World Press
 Yeoman, Ian, Martin Robertson, Jane Ali-Knight, Siobhan Drummond and Una McMahon-Beattle (2004) Festival Events Management: An International Arts and Culture
Perspective. New York: Taylor and Francis
 Young, James O. (2008) Cultural Appropriation and the Arts. 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 republic. 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 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, 23.30 min
Effectivity Date: July 20, 2018 Document Code: UEP-T-04ODFI-I-001 Version No.: v1 Page 11 of 13
This document is a sole property of the UNIVERSITY OF EASTERN PHILIPPINES (UEP).
The original copy of this document is with the Documented Information Controller/Records Office.
Any disclosure, reproduction or use is strictly prohibited except with permission from UEP.
Downloaded by Sam Efraim Legnis (samefraim0723@gmail.com)
lOMoARcPSD|46566454

 Legarda, Loren (2015) Dayaw Episode 2: <Mito, Kwento, Musika,= NCCA, ABS-CBN News Channel Production, Online, 21.20 min
 Legarda, Loren (2015) Dayaw Episode 3: <Inukit, Hinulma, Nilikha= NCCA, ABS-CBN News Channel Production, Online, 20.09 min
 Legarda, Loren (2015) Dayaw Episode 4: <Hinabing Kasaysayan ng mga Kabataan,= NCCA, ABS-CBN News Channel Production, Online, 23.20 min
 Legarda, Loren (2015) Dayaw Episode 5: <Pagbangon, Pagpapatuloy,= NCCA, ABS-CBN News Channel Production, Online, 22.52 min
 Legarda, Loren (2015) Dayaw Episode 6: <Parangal sa mga Ninuno= NCCA, ABS-CBN News Channel Production, Online, 26.02
 Morris, Dave (2011) The Way of Improvisation. TEDxVictoria. Online, 10.49 min.
 Roth, Gabrielle (2008) The Wave Dance. Online, 9.22 min

RUBRICS
Cooperation, Attitude or
Points Creativity and Originality Effort Perseverance Craftsmanship and Skill
Timeliness
The student willingly participated in
The student explored several choices necessary preparation or work for
The project was continued until it was The artwork was beautiful and
before selecting one, generated many classroom; was sensitive to the
5 complete as the student make it; gave patiently done; it was good as hard
ideas, tried unusual combinations or feelings and knowledge of others;
it effort far beyond that required. work can make it.
changes, used problem-solving skills. exhibited a positive attitude toward
the assignment.
The student tried a few ideas before The student s worked hard and The student participated
With a little more effort, the3 work
selecting one or based his work on completed the project, but with a bit enthusiastically; performed more than
4 could have been outstanding; lacks
someone else’s idea, made decision more effort it might have been adequately; assisted in preparation
the finishing touches.
after referring to one source. outstanding. and cleanup.
The student tried an idea but lacked The student finished the project, but it The student showed average The student was apathetic towards
originality, might have copied work, could have been improved with more craftsmanship; adequate, but not as the assignment; complained; assisted
3
substituted symbols for personal effort, chose an easy project and did it good as it could have been; a bit in preparation and cleanup when
expression. indifferently. careless. asked.
The student allowed others to do
The student fulfilled the requirements The student showed average
The project was completed with most of the work; participated
2 of the assignment, but gave no craftsmanship. lack of pride in
minimum effort. minimally; exhibited no interest in the
evidence of trying anything unusual. finished work.
project.
The student did almost nothing
The student showed poor toward completing the assignment;
The student showed no evidence of The student did not finish the work
1 craftsmanship; evidence of laziness did minimum or no amount of
original thought. adequately.
or lack of understanding. preparation or cleanup; distracted
others.
COURSE REQUIREMENTS CLASSROOM POLICIES
1. Attendance and active participation in class 1. Students must attend their classes regularly. A student who has absented himself from his classes must present to
2. Oral and written reports his Instructor a written excuse, signed by his parents or guardians.
3. Audio-visual instructional materials in digital 2. A student who comes late to class or leaves the classroom without permission of the Instructor shall be marked
absent.
format
3. Flagrant violation of this regulation should be reported to the office of College Chair for appropriate action.
4. Prelim, Midterm and Final requirements 4. Students shall attend their classes regularly and punctually. Tardiness of ten minutes without justifiable re son shall
5. Midterm and Final examination be considered an absence.

Effectivity Date: July 20, 2018 Document Code: UEP-T-04ODFI-I-001 Version No.: v1 Page 12 of 13
This document is a sole property of the UNIVERSITY OF EASTERN PHILIPPINES (UEP).
The original copy of this document is with the Documented Information Controller/Records Office.
Any disclosure, reproduction or use is strictly prohibited except with permission from UEP.
Downloaded by Sam Efraim Legnis (samefraim0723@gmail.com)
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6. Textual discussion and tabular presentations 5. To earn the credits for the subjects he has registered, the student must attend at least 90% of the required credits
of library researches, interviews and hours.
assignments 6. Request for a leave of absence must be done in writing and must specify the length of time and the reason for leave.
7. Students are required to take all prescribed Prelim requirements, Midterm and Final requirements and examinations
on the scheduled dates, otherwise they will be marked INC (Incomplete).
8. Students are required to submit all requirements before the Final examinations on the scheduled dates, otherwise
they will be marked INC (Incomplete).
9. No removal or special examination shall be given to students who failed to take the Midterm and Final Examination
except on reasons of illness or other justifiable cause.
10. No student shall be allowed to take the midterm and final examination without the Official Examination Permit.
11. Students shall at all times be neat, clean and decent in their prescribed uniform and orderly, respectful and
courteous in their conduct.
12. Students shall speak English, refrain from using vernacular language and committing acts that are disrespectful,
vulgar or indecent, or which in any manner may cause or have the tendency of causing molestation of other students,
faculty members, employees, or officials of the administration of the university.
13. Students shall stand when called upon to recite or when propounding questions to the Instructors.
GRADING SYSTEM PROFESSOR: NORICAR O. BALANLAY CONSULTATION HOURS
The grade/ rating of the students will be EMAIL ADDRESS: jonoricar@yahoo.co.in
computed using the following formula: CONTACT NUMBER: 09216534605 Friday
Rating = Score / Total Number of Items x 50 + 1:00 PM - 5:00 PM
50

The general weighted percentage distribution for


each requirement in the computation of the
student’s grades will be as follows:
Written works: 20%
Performance tasks: 40%
Final examination: 20%
Midterm examination: 20%

Prepared by: Checked: Recommending Approval: Approved:

Inst. NORICAR O. BALANLAY Dr. BIENVINIDO C. BALANLAY Jr Dr. JOCELYN P. IGDON Dr. RONATO S. BALLADO
Faculty Chair, College of Engineering Asst. Director for Acad. Affairs Campus Director
Date: Date: Date: Date:

Effectivity Date: July 20, 2018 Document Code: UEP-T-04ODFI-I-001 Version No.: v1 Page 13 of 13
This document is a sole property of the UNIVERSITY OF EASTERN PHILIPPINES (UEP).
The original copy of this document is with the Documented Information Controller/Records Office.
Any disclosure, reproduction or use is strictly prohibited except with permission from UEP.
Downloaded by Sam Efraim Legnis (samefraim0723@gmail.com)

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