Gr. 7 Art TG (Q1 to 4).pdf

K TO 12 CURRICULUM FOR GRADE 7 ART TEACHING GUIDE

TABLE OF CONTENTS

FIRST QUARTER: QUARTER:

Module 1

DRAWING DRAWING AND PAINTING

Folk Arts and Designs from Luzon

Lesson 1,2, 1,2, and 3: Folk Arts of Ilocos Region and CAR

Folk Arts of Cagayan Valley and Central Luzon

Folk arts of Southern Tagalog and Bicol Region

Module 2

Folk Arts of the Visayas

Lesson 1 and 2

Module 3

Folk Arts of Western, Central and Eastern Visayas

Folk Arts Arts of Mindanao

Lesson 1

Folk Arts of Mindanao

Zamboanga Peninsula, Northern Mindanao, Davao Region

CARAGA, ARMM, SOCCSARGEN

Lesson 2 Cultural Communities of Mindanao

Module 4

Philippine Paintings

Lesson 1

Paintings During the Spanish Colonization

Lesson 2

Paintings Before the Revolution

Lesson 3 Paintings During the American Period, Post World War Era

SECOND QUARTER:

Module 5

PRINTMAKING

Printmaking Processes in the Philippines

Lesson 1 Printmaking in the Philippines

Lesson 2 Printmaking Techniques and Processes

Activity 1 Simple Rubbings from Found Objects

Activity 2 Leaf Prints

Activity 3 Prints from Vegetables and Fruits

Activity 4 Stencil Prints

Activity 5 Linocut and Woodcut

THIRD QUARTER: PRINTMAKING AND NEW MEDIA

Module 6

Printmaking and New Media

Lesson 1

Printmaking and New Media

Lesson 2

Evolution of Philippine Printmaking

FOURTH QUARTER: SCULPTURE AND VISUAL ARTS IN PHILIPPINES DRAMA AND FESTIVALS

Module 7

Sculpture

Lesson 1 Early Forms and Traditional Sculpture

Lesson 2 Sculpture During the Spanish Colonial Period

Lesson 3 Sculpture During the American Period up to the Present

Module 8

Visual Arts in Philippine Drama and Festivals

Lesson 1 Traditional and Modern Philippine Drama

Lesson 2

Philippine Festivals (Luzon, Visayas and Mindanao)

K TO 12 ART for GRADE 7 FIRST QUARTER: MODULE I : DRAWING AND PAINTING INTRODUCTION TO THE ART OF THE PHILIPPINES (OVERVIEW) ___________________________________________________________________ _________ Time Allotment : 1 session – 1 hour Lesson Summary ART HISTORY

ART PRODUCTION

ART APPRECIATION

Artifacts and visual art of the Philippines date back to pre-historic times, before the period of the Spanish occupation, the period of the American occupation and the present, contemporary times.

Group work: Describe the visual Research on the characteristics and a. culture of uniqueness of the arts indigenous groups and crafts of the from Luzon, Visayas indigenous groups in and Mindanao each island group. b. arts during the Spanish period Describe the visual c. arts during the characteristics of the American period art created during c. arts after American the Spanish, period up to American contemporary and contemporary times and period. visualize your research for a presentation. .

ART CRITICISM Discuss the similarities and differences among the different crafts and arts found in the three islands in terms of: * Design, motifs * Materials used * Use of objects * Influences Trace the influences of Philippine art during the different periods.

OBJECTIVES The student will: 1. Research on the indigenous peoples of the Philippines from Luzon, Visayas and Mindanao and their culture, and the art produced by Filipino artists during the Spanish, and American occupation and after.

2. Create with his group, a presentation that will visualize his research which will be presented to the class.

3. Discuss, compare and appreciate the similarities, differences and uniqueness of Philippine art produced by the indigenous groups and during different historical periods.

ART VOCABULARY   

indigenous - native to the place pre-historic - the period before any written records were made comparisons - to look at two different objects, artworks, creations and compare them according to selected criteria.

K TO 12 ART for GRADE 7 FIRST QUARTER: DRAWING AND PAINTING INTRODUCTION TO THE ART OF THEPHILIPPINES __________________________________________________________________________________

ELEMENTS, PRINCIPLES, PROCESSES 1. 2. 3. 4. 5.

Geometric lines - different straight or curved lines Geometric shapes – squares, triangles, squares, rectangles, ovals, hexagons Repeated design – one pattern or motif or color repeated over a space Alternating designs – two or more patterns, motif or color alternated Graduated designs - a motif or pattern that is repeated but in graduated size from small to big, or if is color, from light to dark. 6. Mural making – a big artwork which can be done alone or with a group, usually meant for a wall or wide space. MATERIALS (for their presentations) any big paper, any material that is recycled, old magazine pages, glue, scissors, pictures, actual artifacts.

LESSON PROCEDURE SESSION 1: (1 hr.) MOTIVATION: TRACING ONE’S ROOTS ( ART HISTORY) 1. Ask each student what province his parents are from and where he grew up or stayed the longest. Name the province(s), the language/dialect he/she speaks, the food and fruits from that place, traditions celebrated, songs, crafts from that province. 2. Divide the class into the three island groups: Luzon, Visayas and Mindanao or into other groupings relevant to the provinces represented by the students and let them share their answers to the rest of their groupmates. 3. Let them synthesize findings of their group and present their group research.

SESSION 2 : (1 hr. )

ACTIVITY: RESEARCH, GROUP WORK. CREATE MURAL (ART PRODUCTION)

1. Assign each group to divide the work: (Session 2) a. Research on the different indigenous groups, or provincial or linguistic groups in their island groupings. Have written reports and visuals or drawings. b. Assign them to interview their parents, grandparents or relatives to get more data on the language, culture and artifacts and crafts from their place. (They can record the interview.) c. Prepare a visual mural of their researches and findings for presentation. d. Let students read the module on Module 1 of the Learning Guide.

K TO 12 - ART ART for GRADE GRADE 7 FIRST QUARTER: UNIT I: DRAWING AND PAINTING INTRODUCTION TO THE ART OF THEPHILIPPINES (OVERVIEW) __________________________________________________________________________________

SESSION 3: (1 hr.) PRESENTATION of of each group and SYNTHESIS (ART APPRECIATION) Let each group do their presentation and ask the other groups to ask questions and give their comments. Post the work of t he groups and let them write a synthesis of their learning’s In the group, and their insights about the report of the o ther groups. Let them post their comments under the posted murals of each group. (ART CRITICISM) Let the groups choose: choose: Best mural or poster in terms terms of design and presentation Best presentation before the class – class – with with all members participating Best research with complete materials Ask students to give give an explanation explanation for their choice. Guide Guide them to look at the art elements and how they are applied in the mural.

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K-12 ART for GRADE 7

FIRST QUARTER: DRAWING AND PAINTING PAINTI NG MODULE 1.FOLK ARTS AND DESIGNS OFLUZON LESSON 1, 2, 3: THE FOLK ARTS OF: ILOCOS REGION, REGION, Cordillera Cordillera Autonomous Region, CAGAYAN CAGAYAN VALLEY, VALLEY, CENTRAL CENTRAL LUZON, SOUTHERN TAGALOG, BICOL REGION

Time Allotment: Allotment: 6 sessions sessions of 1 hr. each = 6 hours

Lesson Summary: ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

The folk arts of the different provinces in Luzon reflect dif. influences that is why there is a wide variety of motifs, designs and colors in their folk arts

The art of mat making and weaving are traditional skills of Filipinos from the different provinces of Luzon. Using native material, weave a simple mat following the patterns you see .

The designs of the artifacts in northern Luzon tend to be linear and spare compared to the designs coming from the southern area. Find out what factors affect the lines, colors and shapes of the motifs and designs.

Find out why the handmade textile and mat weaving craft is slowly dying and provide solutions to this problem.

OBJECTIVES The student will: 1. Select one of of the provinces of Luzon (possibly, (possibly, where where his parents parents or grandparents came from) and for each province, find out the various arts, crafts, architecture, that the province is known for and what its history is. 2. Draw the different artifacts, artifacts, crafts of the the one of the provinces from northern Luzon and one from Southern Luzon and select a dominant design or motif noting the lines, colors and shapes and compare them. 3. Create a mat using native native material and and follow a specific specific pattern or design. 4. Select one cultural craft craft of Luzon Luzon and discuss discuss why that craft is slowly disappearing disappearing and recommend solutions for its continued practice.

K-12 ART for GRADE 7 FIRST QUARTER: DRAWING AND PAINTING MODULE 1.FOLK ARTS AND DESIGNS OFLUZON LESSON 1, 2, 3:

THE FOLK ARTS OF: ILOCOS REGION, Cordillera Autonomous Region, CAGAYAN VALLEY, CENTRAL LUZON, SOUTHERN

TAGALOG, BICOL REGION

ART VOCABULARY: pay-yo – rice terraces in Banawe, Battad, Hungduan and other places abel – handwoven cotton textile of the Ilocos region. vakul – head covering of people in Batanes made of natural grass for rain or sun lingling-o – bronze amulets worn by the Ifugaos which are fertility symbols. burnay – hand molded pottery found only in the Ilocos region buri – the raw material from a plant, used for making mats. piña – fabric woven from fine pineapple fiber barong tagalong – men’s formal shirt with handmade embroidery, famous in Lumban, Laguna higantes – giant papermache figures that are bigger than man, paraded during a festival in Angono kiping – leaf-shaped decorative hanging brightly colored, that is used for the harvest Festiva (Pahiyas) l in Lucban and other towns in Quezon.

ART ELEMENTS, PRINCIPLES: Anthropomorphic design - based on living things – plants, animals, persons, nature Geometric design -

based on lines and shapes like the square, rectangle, oval, and different kinds of lines (straight, curvilinear)

Repetion -

when a line, shape, color is repeated in a design as in a textile or mat.

MATERIALS (for mat weaving) – buri strips of various colors and widths paper; pencil or crayons - for drawing design motifs paints – natural from dyes, or regular paints brushes – for painting found materials – seeds, leaves, and recycled foil from tetra packs.

LESSON PROCEDURE SESSION 1: MOTIVATION and RESEARCH – ART HISTORY 1. Ask students what province they or t heir parents, grandparents come from or where they lived for some time. If they cannot name a province, they can choose one of the provinces in Luzon and read from their Learning Guides and other sources, what crafts, designs, festivals the province is known for. Encourage the students to share their memories about the province familiar to them. Do the Memory Check Exercise in the Learning guide. 2. Students may work in groups and join those researching and reading about a particular province or region. They could find out the following: (Read Learning Guide)

K-12 ART for GRADE 7 FIRST QUARTER: DRAWING AND PAINTING MODULE 1. FOLK ARTS AND DESIGNS OF LUZON LESSON 1, 2, 3: THE FOLK ARTS OF: ILOCOS REGION, Cordillera Autonomou s Region, CAGAYANVALLEY, CENTRAL LUZON, SOUTHERN TAGALOG , BICOL REGION

a. language spoken in that province b. crafts or industry the province is known for and why – what materials they use; where materials are sourced. c. where crafts are used and when is it sold d. particular designs or motifs used - they will draw this for presentation

SESSION 2: Students read and use as research source the Learning Guide: Lesson 1 (Folk Arts of Ilocos Region, CAR); Lesson 2 (Folk Arts of Cagayan Valley and Central Luzon), Lesson 3 (Folk Arts of Southern Luzon, Bicol Region). Students do Activity 1, Activity 2, Activity 3, Memory Check, and Reflections

SESSION 3: Students make PRESENTATIONS by groups, with each member sharing a different topic.

SESSION 4and 5.(1session of 1 hr.) ART PRODUCTION

Based on their researches, the student will do the following: Activity 4 (drawing your design) and Activity 5 (weaving) in Learning Guide. a. using buri strips, weave a small mat b. do a drawing inspired by the piña barong designs of Lumban c. using recycled tetrapack foil, make strips that can be woven into a small basket, wallet or container. d. if clay is available in the locality, mold a pot using coil or slab method and create differently shaped pots. e. choose a particular design motif (from Mt. Province textile, Batangas barong, Bicol baskets, and adapt it to create a modern design. Paint your design.

SESSION 6 (1 session of 1 hr.) SYNTHESIS and ART APPRECIATION a. Find out which artists were inspired to paint or draw scenes, persons, crafts from the different provinces of Luzon. Comment on the the style of the artist.

b. List down arts and crafts of Luzon which are still being created and bought by people in the city or in the malls. Where are they used? Who buys them? Are they expensive?

c. Let students do a PORTFOLIO as part of their synthesis (Homework)

d. Integrate what you have learned in the art sessions with your lessons in Araling Panlipunan (History of the Phil. -Luzon) ; with Music - music of the northern communities.

K TO 12 CURRICULUM CURRICULUM FOR ART: ART: GRADE GRADE 7 FIRST QUARTER: QUARTER: DRAWING, DRAWING, PAINTING PAINTING MODULE 2 : FOLK ARTS ARTS FROM THE VISAYAS VISAYAS Lesson 1 and 2: FOLK ARTS OF THE VISAYAS: Panay, Aklan, Antique, Capiz, Guimaras, Iloilo, Negros, Siquijor, Bohol, Cebu, Samar, Leyte, Biliran . ____________________ ______________________________ ___________________ __________________ ___________________ ___________________ _________

Time Allotment: Allotment: 2 sessions of 1 hour each = 2 hours

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

The Visayan islands is where we see the strong Influence of the Spanish culture in the songs, dances, food, textiles, attires, religious festivals and the architecture. The Visayans have different languages.

Craft a simple mat, leaf whistle (torotot), mat or basket following the traditional steps of the Visayan craftsmen and women.

Trace the inspiration i nspiration of the art motifs and other creative expressions in the Visayas, which is different from Luzon and Mindanao.

Compare the design motifs of the Visayans with those of Luzon and those from Mindanao. What characterizes Visayan motifs?

OBJECTIVES The student will: 1. trace the history history of the Visayan Visayan islands and be able able to specify specify the most dominant influence in their visual arts and crafts.

2. be able to describe describe the religions, religions, languages, languages, crafts, food, festivals of the the the different provinces of the Visayas, and show the distinctions of each and make a creative presentation on the different provinces.

3. be able to draw design motifs inspired by the motifs seen in the crafts.

4. be able to weave weave a simple simple mat; construct construct a whistle out of a leaf, leaf, and make a visual and text portfolio portfolio on the arts and and crafts of the Visayas.

VOCABULARY

Manunggul jar – jar – famous famous pre-colonial secondary burial jar excavated from Manuggul Cave in Palawan, Palawan, with two figures rowing rowing a boat, signifying belief belief in the journey of the soul to the afterlife. afterlife.

K TO 12 CURRICULUM FOR ART: GRADE 7 FIRST QUARTER : DRAWING, PAINTING PAINTING MODULE 2 : FOLK ARTS FROM THE VISAYAS Lesson Lesso n 1 and 2: FOLK ARTS OF THE VISAYAS VISAYAS : Panay, Aklan, Antique, Capiz, Guimaras, Iloilo, Negros, Siquijor, Bohol, Cebu, Samar, Leyte, Biliran Biliran . __________________________________________________________________________________

malmag – malmag – or or tarsier, found in in Bohol, is one of the smallest living living primate.

tikog – a – a kind of leaf used for weaving mats of Basey, Samar.(In Waray they call it bariw or romblon) romblon ) lara – is the Samar word for “weave” and the mat weaver is called “ naglalara” and and weaving is “paglalara” “paglalara” or “pagrarara” burda –is the word for “to embroider” on the mats mats pu-so orbodbod – is – is the woven container of the glutinous g lutinous rice or puto, bibingka in the Visayas. salugin – salugin – the the traditional Tagbanua attire made of pounded pounded bark of trees. sinamay – sinamay – fabric made of woven abaca twine. torotot - handmade whistles banig – banig – handwoven handwoven mat of various local materials, the most f amous found in Basey. patadyong – patadyong – the wrap around handwoven skirt of Visayans which has a checkered pattern. kapis – kapis – shell used for various crafts, and for the windows windows of local houses. pinya -the fiber extracted from the pineapple leaves and used as fine fabric for the barongtagalog

ART ELEMENTS, PRINCIPLES, PROCESSES

curvilinear lines – lines that are curved and inspired by lines found in f lowers and plants geometric design – made of various straight lines and shapes. natural dyes – dyes from seeds, fruits and bark of trees used to dye mats and fabrics repetition – when a line or color or shape is repeated in a mat or fabric contrast – when a light color is woven beside a dark color or when a thin line or shape is placed beside a thick line or shape to p rovide contrast weaving - the handmade craft of using warp and weft strips or string to create a fabric or mat MATERIALS

buri or bangcuang, bamboo strips or any kind of leaf that can be made into strips for weaving or recycled materials any dyes or coloring material paper and pencil or pen, crayons for sketching designs any adhesive for pasting artworks, pictures for the portfolio

LESSON PROCEDURE

OVERVIEW and HISTORY OF THE VISAYAS 1. Find out who among the students come from the Visayas. Let them speak their language, and describe their province; their customs and traditions; their food and crafts.

K TO 12 CURRICULUM FOR ART: GRADE 7 FIRST QUARTER : DRAWING, PAINTING MODULE 2 : FOLK ARTS FROM THE VISAYAS Lesson 1 and 2: FOLK ARTS OF THE VISAYAS : Panay, Aklan, Antique, Capiz, Guimaras, Iloilo, Negros, Siquijor, Bohol, Cebu, Samar, Leyte, Biliran . __________________________________________________________________________________

2. List down on the board what students know about the Visayas region. 3. Ask students to get their Learning Guide and do the Memory Check exercise and read the overview in the Learning Guide. Group the class by province:, and ask them to study the province and do research, using the Learning Guide and other sources. Do Activity 2, 3

APPRECIATION OF THE VISAYAN ARTS AND CRAFTS 1. After their research, let the groups make a creative presentation of their selected province (including visuals, songs, dramatization and actual crafts if possible) before the class. They can include a creative assessment or test at the end of their presentation to check what their classmates recalled.

2. The students can select: the most creative presentation the most interactive presentation the presentation with the most impact on audience 3. Display the posters, murals presentation boards, created by the different groups on the provinces of the Visayas and display them in a public place in school.

ART PRODUCTION: CREATION OF WOVEN MATS and TOROTOT

1. Let students source local leaf strips like buri, pandan, banana and other leaves.

If these are not available, let them look for recycled materials: strips of tetrapacks, old colored magazines and newspapers, paper bags or even old plastic bags. Check the steps in weaving from the Learning Guide. (Activity 4 and Activity 5) (It would be helpful if a real weaver from the province can be invited to demonstrate weaving techniques before the class.). Let students improvise on the final woven product: can it be made into placemats, bookmarks, glass holder or table runner or even a wallet or small bag – possible handmade gifts.

2. The students can also sketch or draw the curvilinear designs of the barong on small strips of paper, which could be made into notepads, stationery, or bookmarks.

EVALUATION

1. Let students write their thoughts on the REFLECTIONS in the Learning Guide. 2. Submit their PORTFOLIOS as part of their assessment and evaluation for this module. 3. Evaluate the mats and torotot: is the mat symmetrical in shape? Was there any variation in the weaving? Does the torotot make a musical sound? 4. Let students answer the Reflection pages to give their comments.

K TO 12 ART for GRADE 7 FIRST QUARTER: DRAWING AND PAINTING MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 1 ,2 : FOLK ARTS FROM MINDANAO: ARMM Autonomous Region of Muslim Mindanao, CARAGA, Davao, Northern Mindanao, SOCSARGEN and Zamboanga Peninsula __________________________________________________________________________

Time Allotment: 2 class sessions of 1 hour each = 2 hours Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

Of the three island groups, Mindanao has the most number of indigenous groups, and also the biggest number of Muslims in the whole of the Phil. Show in a cultural map the location of each.

Draw a fern, which Is a common motif in their art. Create an assemblage made of varied plant materials. Draw a motif derived from a design found in an artifact of an indigenous group from Mindanao

Discover the sources of design of the indigenous communities from Mindanao and find out to what other countries they are similar to. Create a portfolio of your researches.

Contrast the artistic motifs in the textile and artifacts of the northern indigenous communities and those from the south. Cite their differences. Find out other countries in the world that have similarities to the culture of the Mindanaoans.

OBJECTIVES

The student will: 1. describe the uniqueness of the different cultural communities in Mindanao through a visual presentation and appreciate the differences and variations of attire, their crafts, and their practices.

2. describe their unique culture: their languages, beliefs, practices, rituals, social system, myths and legends that influence their lifestyle and artifacts.

3. draw a design derived from a motif of one of the artifacts of the cultural communities

VOCABULARY

sarimanok – the Maranao mythical bird with a fish in its beak or at its claws,and with intricately carved wings,made of wood or bronze, that is often used as décor

okir/ ukkil - the wood carving designs of the Maranao and the Tausug that includes the sarimanok, the naga (serpent-derived design) pakorabong (plant derived design)

K TO 12 ART for GRADE 7 FIRST QUARTER: DRAWING AND PAINTING MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 1 ,2 : FOLK ARTS FROM MINDANAO: ARMM Autonomous Region of Muslim Mindanao, CARAGA, Davao, Northern Mindanao, SOCSARGEN and Zamboanga, Peninsula __________________________________________________________________________________

panulong – the extended beams of a torogan, an elite Maranao house, that is shaped like the prow of a boat, intricately carved with the naga or sarimanok motif, and brightly colored.

kulintang – a set of bossed gongs suspended on a wooden frame and hit with a thick wooden stick to create a unique resonating sound. t’nalak - the T’bolihandwoven, elaborately tie- dyed (called ikat) abaca cloth whose design is dreamt by the weaver, so no two t’nalaks are the same.

malong – is the tubular multi-purpose garment worn by different groups in Mindanao, with the most intricate and colorful worn by the Maranaos; it is decorated by an embroidered narrow panel called the ‘langket’ with pakorabong or okir designs Maitum jars - these are secondary burial jars and are unique because the human heads that decorate the cover have different facial features, It was discovered in Maitum cave.

ART ELEMENTS, PRINCIPLES, PROCESSES

anthropomorphic designs – stylized designs derived from plants, animals, persons like the pakorabong (vine ), naga ( serpent) geometric designs – based on different kinds of lines and shapes primary colors natural dyes – colors derived from seeds, bark of trees, leaves and flowers, mineral. tie-dye – an intricate process where threads of a fabric are tied according to a design and dipped in different colors of dye and then untied and woven to create a one-ofa kind fabric design. collage – an artwork which includes the gluing of textured natural or man-made found materials to create a composition

MATERIALS nature materials – seeds, leaves, small twigs, petals. Dried flowers glue found material - magazine pages, paper cutting tools – scissors, cutter, knife pen or crayons for drawing, paper

K TO 12 ART for GRADE 7 FIRST QUARTER: DRAWING AND PAINTING

MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 1 ,2 : FOLK ARTS FROM MINDANAO: ARMM Autonomous Region of Muslim Mindanao, CARAGA,Davao, Northern Mindanao, SOCSARGEN and Zamboanga, Peninsula __________________________________________________________________________________

LESSON PROCEDURE

SESSION 1:

INTRODUCTION/ MOTIVATION (ART HISTORY)

1. Look at the map and list the provinces belonging to the regions in Mindanao.

2. Let students read and look at the illustrations in the Learning Guide for Module 3, Overview to get a background about Mindanao and its history.

3. Assign the students by groups to research on the different regions of Mindanao: the peoples, the language, the culture, the religion, the festivities, the artifacts. They can include drawings and pictures in their presentation.

NOTE: If some of the students are from Mindanao, let them talk abo ut their province, their family, their customs and traditions. If they can perform (sing or dance) or bring actual artifacts from their province, this would be more interesting for the students. SESSION 2:

PRESENTATION OF PEOPLES OF MINDANAO (ART APPRECIATION and ART PRODUCTION)

1. The student groups can hang their posters and presentations on the wall so the others can appreciate the variety of cultural communities: their attires, artifacts, festivals, icons of the groups they researched on. Begin making a Portfolio on your selected cultural community.

2. Look at Activity 2 of the Learning Guide, for creating an assemblage of leaves, seeds and flowers and create your own assemblage.

4. Look at the samples of textile designs in Activity 3. What different motifs can you see? Draw some of these motifs on paper. Fill up the Reflection Page .

3. Let each choose one motif from the cultural artifacts of the group they presented and make a sketch of it. It can be a faithful replication of the design or it can be an adaptation. (Materials can be any kind of paper, pencil or pen, crayons)

4. Post the sketches and select which designs are traditional and which are adaptations. Label the drawings placing the name of the design and where it came from.


MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 1 ,2 : FOLK ARTS FROM MINDANAO: ARMM Autonomous Region of Muslim Mindanao, CARAGA,Davao, Northern Mindanao, SOCSARGEN and Zamboanga, Peninsula __________________________________________________________________________________

SESSION 3 : SYNTHESIS 1. Do the Memory Check Activity in Learning Guide. 2. Do the Final Glance Exercise and the Reflection Page in the Learning Guide. 3. Let students exhibit their artworks in a public place so more students can learn from it.


MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN MINDANAO

Time Allotment:

1 session of 1 hour

Lesson Summary ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

Of the three island groups, Mindanao has the most number of indigenous groups, and also the biggest number of Muslims in the whole of the Phil. Show in a cultural map the location of each.

Draw a fern, which Is a common motif in their art. Create an assemblage made of varied plant materials. Draw a motif derived from a design found in an artifact of an indigenous group from Mindanao

Discover the sources of design of the indigenous communities from Mindanao and find out to what other countries they are similar to. Create a portfolio of your researches.

Contrast the artistic motifs in the textile and artifacts of the northern indigenous communities and those from the south. Cite their differences. Find out other countries in the world that have similarities to the culture of the Mindanaoans.

OBJECTIVES

The student will: 1. view the designs seen in the panulong or the langkit and focus on the pako rabong or vine motif and analyze how it is stylized.

2. draw sketches of any actual fern available in the locality and stylize it like the pakorabong and create an original stylized design that can be applied or

used as a motif in a poster, a cloth design, or a bookmark.

3. post the drawings of the stylized ferns done by the students in class and select the most unique designs; the most stylized; and the most colorful.

VOCABULARY stylized - deriving a design from a real object and abstracting the design by using lines, shapes and colors that are simplified, magnified or emphasized. Pakorabong – a stylized design based on a vine or fern. symmetrical composition – when both sides of a composition are the same or balanced informal composition – when one side of the composition is not the same as the other.


MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN MINDANAO

Cultural groups in Mindanao and where they live: Maranao – largest and most dominant Muslim group; found in Lanao. Sultan Kudarat, Cotabato Bajao – in Sulu and Tawi-tawi Bagobo – in eastern uplands of Mindanao and eastern area of Davao del Sur Bilaan- upland of Davao del Sur Maguindanao – Maguindanao province, north and south Cotabato Mandaya – southern part of Davao Mamanwa – in northern Surigao and Agusandelnorte Samal – in Sulu, Tawi-tawi, and coast of Basilan Subanen – in Zamboanga T’boli - uplands of South Cotabato Tausug – in jolo, Tawi-tawi, coast of Basilan Tiruray – eastern part of Maguindanao, near Sultan Kudarat Yakan – Basilan island ART ELEMENTS, PRINCIPLES, PROCESSES

anthropomorphic designs – stylized designs derived from plants, animals, persons like the pakorabong (vine ), naga ( serpent) geometric designs – based on different kinds of lines and shapes symmetrical balance – both sides of the work are the same

asymmetrical balance – when one side of the composition is not identical to the other side primary colors - are the most basic colors (red, yellow, blue) secondary colors – are colors derived from mixing two primary colors. natural dyes – colors derived from seeds, bark of trees, leaves and flowers, mineral. tie-dye – an intricate process where threads of a fabric are tied according to a design and dipped in different colors of dye and then untied and woven to create a one-of-a kind fabric design. collage – an artwork which includes the gluing of textured natural or man-made found materials to create a composition

MATERIALS

Nature materials – seeds, leaves, small twigs, petals. Dried flowers glue, string found material - magazine pages, paper cutting tools – scissors, cutter, knife pencil, crayons, paints, dyes

K TO 12 ART for GRADE 7

FIRST QUARTER: DRAWING AND PAINTING MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN MINDANAO

LESSON PROCEDURE

APPRECIATING and CREATING THE “PAKORABONG” DESIGN

1. Ask the students to read Activity 2 of the Learning Guide. Ask them to comment on the different indigenous art samples done by other students in the last class period. Which compositions are ‘symmetrical’ and which are asymmetrical or Informal in balance?

2. Let the students look at the different vine motifs on the LANGKIT, the PANULONGand ask them to create a design derived from any of the leaves or flowers and stylize it . the design can be symmetrical or asymmetrical. Let them display their works for others to appreciate and comment on: a. b. c. d.

which designs are original? Which designs are symmetrical? Which designs are asymmetrical? Where can you apply these designs? For what products?

3. Let students write their coments on the REFLECTIONS page.

DRAWING AND PAINTING A TEXTILE DESIGN INSPIRED BY THE WOVEN

FABRICS OF THE INDIGENOUS GROUPS

1. Let students go to Activity 3 of the Learning guide and look closely at the different patterns, lines, shapes and colors woven by the different groups:

a. b. c. d. e. f.

Yakan T’boli Maranao Kinarayan Dagmay Maguindanaon

2. Using the same motifs and symbols that are used, let students adapt these designs to create their own original design, using different patterns. (Students can use pencils, pens, and crayons or paints or dyes. They can draw their designs on paper, a bilao, abaca fabric, flat coconut leaf, or any surface like bamboo or wood.

3. The drawing or painting of the design can be embellished with natural materials like seed, leaves, shell and other found objects that can add texture.

K TO 12 ART for GRADE 7

FIRST QUARTER: DRAWING AND PAINTING MODULE 3. THE FOLK ARTS OFMINDANAO Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN MINDANAO __________________________________________________________________________________

4. Display the original designs and motifs created by the students. Let them choose their favorite and let them explain why it is their choice.

5. SYNTHESIS : Let students write their thoughts on the final REFLECTIONS page of the Learning Guide.

5. Discuss with the students what makes the fabrics of the indigenous communities so unique. The National Commission for Culture and the Arts (NCCA) has awarded some weavers the GawadManlilikhang Bayan (GAMABA) because of the intricacy, artistry and highly refined creative designs they show in their handmade fabrics. Who are these GAMABA artists? Research them in the www.ncca.gov.ph website and share your research with your class.

K TO 12 ART for GRADE 7 FIRST QUARTER : UNIT II – DRAWING AND PAINTING

MODULE 4: PHILIPPINE PAINTINGS

LESSON 1, 2, 3: PAINTINGS DURING THE SPANISH OCCUPATION, BEFORE THE REVOLUTION, DURING THE AMERICAN PERIOD, and POST WORLD WAR ERA

Time Allotment: 3 sessions of 1 hour each = 3 hours

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

The Pilipinos were introduced to the western style of painting by the Spaniards who use these to Christianized them. However, some local artists created their own styles of painting particularly when they did portraits of the rich families or of peasants, traders and local folks.

Following the style of Pilipino artists, draw and paint portraits and a landscape.

Distinguish the styles of the different Pilipino painters and give examples of their works.

Do presentation of one of the famous Phil. painters.

Describe the famous works of Juan Luna, Hidalgo, Manansala, and other artists and give reasons why they are famous.

Which of the local artists would you consider original and unique in their style? Justify your answers.

Create also a storyboard based on a local myth or legend. Create a photo montage of your friends or family

When the camera was Invented photos took the place of portraits

Which artists followed the styles of the western world? Who among the present artists are your favorites ? Which is better – a portrait painting or a photo of a person.

OBJECTIVES

The student will

1. Research on the Filipino artists who llived during the different historical periods and show samples of their works with detailed descriptions for presentation.

2. Draw portraits following the style of our artists during the Spanish period, and paint a landscape following the style of contemporary artists.

3. Choose a painter and write about the influences in his life and his art. Define the styles he tried and the style he is known for.

K TO 12 ART for GRADE 7 FIRST QUARTER : UNIT II – DRAWING AND PAINTING

MODULE 4: PHILIPPINE PAINTINGS


ART VOCABULARY

tipos al pais – or genre paintings; of the local scene and scenery miniaturismo- a style of portraiture when the artist painted a miniature portrait of a person usually meant for a locket or a small frame. Symbolism - when drawings and paintings had images or secret symbols only certain groups understood portrait

- a drawing, painting or print of a person

ART ELEMENTS, PRINCIPLES

shapes and colors of faces – there are different shapes of faces; skin and hair of persons are also unique.

Texture – landscapes show texture of places and buildings.

Harmony – when the artist uses colors, shapes and lines that are complementary, the painting or drawing has harmony. MATERIALS

different kinds of paper – bond, craft, newsprint, oslo, watercolor paper canvas, textile or wood or any surface (bilao, banig, wooden panels) to paint on different kinds of drawing tools – pencils, crayons, pens different kinds of paints - watercolor, poster paints, acrylic, oil

PROCEDURE

MOTIVATION (1 session)

Look at the examples of Philippine painters in the Learning Guide (Overview), and read about the historical background of the reasons why and how our local painters had specific styles of painting to answer the need of the times (Spanish Period, Revolutionary, American Period, Post World War period and the present times). How did the paintings and drawings serve as the visual history of the Philippines? Have a creative presentation of the paintings showing a timeline of the art works.

PROCESS: DRAWING and PAINTING (2 sessions)

1. Choose a particular Filipino painter during the Spanish period and emulate his style of doing portraits.

K TO 12 ART for GRADE 7 FIRST QUARTER : UNIT II – DRAWING AND PAINTING MODULE 4: PHILIPPINE PAINTINGS


2. After it is done, display your portraits and let your classmates name the artists whose style you emulated. What are the characteristics of this style?

3. Choose a Philippine landscape and render it in watercolor or acrylic, poster or oil .Select complementary colors to create your landscape.

Select a contemporary landscape and make a painting of it. Compare this painting with the earlier landscape painting you did. Describe the differences.

4. Select a Philippine myth or legend, and create a storyboard illustrating it. (Research on artists like Botong Francisco or Fernando Amorsolo and describe The myths or legends that they painted).

APPRECIATION and ASSESSMENT

1. Have an exhibit of your drawings and paintings and hold it in a public space in your school or community. Give an art appreciation session for your viewers.

2. Make a written comment about the paintings and drawings on display: a. which portrait is similar in style to a particular artist? b. which portrait is original in style? c. which photograph of a person is most expressive ? Why?

3. Invite a local artist and let him talk about his art, show some of his paintings and watch him as he paints. The experience of being with a painter as he works (even if he does not talk, is a great learning experience for students). a. describe how the artist works b. what is the style of the artist? c. what do you appreciate about his style? 4. Let students do the Activity pages and write his/her comments in the Reflection pages of the module.

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 - PRINTMAKING TECHNIQUES: An Introduction LESSON 1: PRINTMAKING IN THE PHILIPPINES

Time Allotment: (2 sessions - 2 hours)

Lesson Summary

ART HISTORY

Printmaking in the Philippines was done long before the Spaniards came but it was from them that block printing began. Now we have many artists who use printmaking as their medium.

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

There are many methods of printmaking but the most common are nature or found object prints or rubbings, rubber prints, wood cuts, and stencil prints.

Prints exhibit a variety of texture and lines as these are etched or carved or etched from the master plate. In stencils, shapes and colors are emphasized.

Though prints make it possible to have several editions of a work, each print is an original, particularly if the printing is done by hand. Good prints have clearly etched lines, variety of textures and colors.

OBJECTIVES

The student will:

1. Research on the history of printmaking in the Philippines during pre-hispanic times, the Spanish occupation and up to the present.

2. Make a creative presentation with a group on the history of printmaking in the Philippines, including samples of the different prints from the different historical periods or a presentation on the different kinds of printmaking techniques.

3. Appreciate and compare the unique characteristics of prints made in the Philippines and the contemporary prints u sing different techniques.

ART VOCABULARY

1. 2. 3. 4. 5.

Laguna copper plate wood block printmaking relief prints: object and nature prints, lino or rubber prints, wood block prints stencil prints, silkscreen collagraphs


ART ELEMENTS, PRINCIPLES 1. texture, lines, color, shape 2. variety, repetition, contrast, radial , alternating

MATERIALSand RESOURCES 1.pictures of prints for discussion 2. materials for presentation 3. internet websites on printmaking in the Philippines

LESSON PROCEDURE

MOTIVATION 1. Show samples of prints to students and ask them how these were made. 2. Look at the different illustrations of prints in the Learning Guide and read the history of printmaking in the Philippines. Let students form a team of seven and discuss what they have read in the Learning Guide.

ART ACTIVITY (See Activity 5 in the Learning Guide)

1. Cluster the students by groups and assign them to research on the following topics on printmaking in the Philippines (2 sessions – 2hours). Read Learning Guide

a. b. c. d. e.

2.

printmaking in pre-historic times printmaking during the Spanish period printmaking after the Spanish period (American period) printmaking during contemporary times (20 th century) famous printmakers in the Philippines.

RESEARCH Give time for students to go to the library; access the internet; visit art galleries or interview artists and printmakers in the community. The group should discuss how they will present their researches and interviews, using a creative format: power point presentation; visual poster presentations; TV-interview format; bring a guest artist-printmaker to class; install a print exhibit; have a gamecontest, etc…

3. PRESENTATION Students give their creative group presentation before the class. Presentations will be judged on the following points:


a. comprehensiveness – did the report cover all the data, historical texts available? Were the points well explained?

b. clarity of presentation - was the language of the text relevant and understandable to their classmates?

c. visuals - were the visuals used supporting the text of the report? were there enough visuals to clarify the text and show the different types of printmaking?

d. creativity of format – was the style/mode of presentation unique and interesting?

e. teamwork – did all the members of the team have a part to play in the presentation

f. preparedness – did the group answer the questions from the class adequately?

4. ASSESSMENT and EVALUATION (CRITIQUING)

a. Before the presentation, tell the students how they will be evaluated by their classmates on the six points listed above.

b.

Explain that the students should give descriptive (text) evaluations and numerical evaluation for each of the six points listed above for each group presentation.

5 4 3 2 1

c.

- excellent - very good - good - fair - poor

Do the Reflection page in the Learning Guide.

**************

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 - PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2. PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 1 : SIMPLE PRINTS: RUBBINGS FROM FOUND OBJECTS ___________________________________________________________________

Time Allotment: 1 session - 1 hour

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

Printmaking was done by people from different parts of the world to create designs on paper, textile or on walls.

Create a print or rubbing from found materials, objects and compose these prints using different designs: radial, repeated motifs, alternating motifs contrasting motifs. Product: book cover, textile design, wall design, wall hanging

Prints exhibit a variety of texture and lines, as seen in rubbings of coins, found objects,with textured surfaces and other objects.

Clarity and design in a print is achieved by doing a clear rubbing and by arranging the motif following a design that is radial, border design, repeated, alternating or contrasting.

OBJECTIVES

The student will:

1.

Analyze the various designs and motifs created by other artists for various products: wall hanging, textile design, for borders of walls,

plates, mugs, and book covers.

2.

Name the kinds of designs seen in the display or pictures, using art vocabulary.

3.

Create a rubbing using various objects found in the room and the Environment following a particular pattern.

ART VOCABULARY

1. rubbing and patterns 2. impression 3. stamping. rolling, pressing 4. product design 5. differentdesigns: radial, repeated motifs, alternating, contrasting motifs 6. hand made prints vs. machine prints

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 - PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2. PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 1 : SIMPLE PRINTS: RUBBINGS FROM FOUND OBJECTS

______________________________________________________________________

ART ELEMENTS & PRINCIPLES

1. texture – is created by rubbing an object whose surface has embossed or etched or indented parts (it can be smooth, corrugated, rough, ridged, stippled) 2. lines

- various lines are created depending on the instrument used for carving Or etching (thick, thin, jagged, smooth, curved, straight)

3. shapes- embossed shapes can be geometric or natural shapes. 4. design motifs can be rectangular, oval, square, circular, triangular .

MATERIALS, RESOURCES

Various objects that have a flat surface but has varied textures (coins, pendants, keys, alphabet blocks, corrugated paper, etc. Crayons or charcoal Absorbent paper or cloth

PROCEDURE

MOTIVATION Ask students what different prints they have seen and what was the source of the print. Show samples of rubbings and demonstrate how it is done.

PROCESS

1. Layout several coins or textured objects on cloth or thick newspaper so it will not move or slide.

2. 3. on

place thin paper on top of the textured objects. rub the side of a dark crayon on the paper which is over the objects, and keep

rubbing until the shape and texture of the object is transferred to the paper.

4.

arrange the rubbings in an orderly design. It can be in a series or the rubbings

can overlap. Experiment and try different arrangement.

5.

Make several rubbings of different objects. Display your prints.

APPRECIATION and ASSESSMENT

Ask students to look at their work and comment on the clarity of the rubbing; the pattern created by the arrangement of the rubbings. Choose which rubbings are well designed and are clear.

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 – PRINTMAKING TECHNIQUES AND PROCESSES LESSON 1, ACTIVITY 2 : LEAF PRINTS ___________________________________________________________________

Time Allotment: 1 session or 1 hour

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

Printmaking was done by people from different parts of the world to create designs on paper, textile or on walls. The objects printed Often times came from natural objects.

Create a print from different leaves and compose these leaf prints using different designs: radial, repeated motifs, alternating motifs contrasting motifs. Product: book cover, textile design, wall design, wall hanging

Leaf Prints exhibit a variety of texture and lines because the Leaves have different shapes, contours and the back of the leaf has veins that create a design. .

Clarity and design in a print is achieved by doing a clear print and by arranging the leaf print following a design that is radial, border design, repeated, alternating or contrasting.

OBJECTIVES

The student will:

1. realize that nature is a rich source of design as can be seen from different shapes of leaves.

2. create several motifs for a design using prints of different leaves, and apply it for a book cover or textile design.

3. appreciate the variety of leaf designs and the uniqueness of each print created by other students and be able to select unusual designs.

ART VOCABULARY

1. patterns 2 clear impression or print 3. stamping. rolling, pressing 4

product design

5. differentdesigns: radial, repeated motifs, alternating, contrasting motifs 6. hand made prints vs. machine prints

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 – PRINTMAKING TECHNIQUES AND PROCESSES LESSON 1, ACTIVITY 2 : LEAF PRINTS

__________________________________________________________________________________

ART ELEMENTS & PRINCIPLES

1. texture – is created by inking an object whose surface has embossed or indented parts (it can be smooth, corrugated, rough, ridged, stippled) like the surface or the back of leaves.

2. lines

- various lines are found in the surface of leaves: (thick, thin, jagged, smooth, curved, straight)

3. shapes-

shapes of leaves can be circular, oval, pointed oval, jagged edges

4. design motifs - can be rectangular, oval, square, circular, triangular .

MATERIALS, RESOURCES

1. different kinds of leaves with veins that are clear, or whose shapes are unnusual

2. paint which can be dripped on a wet sponge, or stamp pad with ink,

3. a brush or cloth to apply the ink or dye on the leaf.

4. old newspapers, rags, water

PROCEDURE

MOTIVATION: demonstrate the steps in doing a leaf print

1. assign students the day before this lesson to bring leaves with defined veins and those with unusual

shapes(like guava , San Francisco, papaya, etc)

2 show samples of leaf prints

3. have materials and equipment ready: leaves, dyes or stamp pad, thick paint on wet sponge, old newspapers, rags.

PROCESS

.1. using a brush or balled cloth or sponge, get a modest amount of ink

2... dab the ink on the veined part of the leaf. Dye or ink should not be too watery or too dry. Ink the raised part of the veins of the leaf and ink the whole leaf.

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 – PRINTMAKING TECHNIQUES AND PROCESSES LESSON 1, ACTIVITY 2 : LEAF PRINTS

3. press the inked part of the leaf on an absorbent piece of paper or textile.

4. place a newspaper sheet on top of the leaf and rub well over the leaf so the inked side will be imprinted onto the paper.

5. lift newspaper and inked leaf carefully to see the imprint of the leaf.

6. check if the print is clear, and distinct. If not keep on practicing inking, pressing the leaf until you get a good print. 7. plan the design of the leaf prints so they follow a pattern or shape (radial, rectangular, square, oval, etc..) PRINTING Let students do their own prints. Allow them to make several attempts and trials until they are able to create a clean and distinct print. Remind them that printing of the leaf should not at random, but they should decide the shape of the print design .

. APPRECIATION and ASSESSMENT

Once the design is completed, hang the paper to dry. If there is time, another leaf and design pattern can be printed. Combining different leaf shapes would make an interesting shape. Judge the leaf print on the same criteria used in appreciating and judging the rubbings.

a. is the print clear? b. does the leaf that was selected unusual in shape? c. was there a clear impression of the veins of the leaf? d. what kind of design pattern was created?

Write your reactions and thoughts in the REFLECTION page of the Learning Guide.

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 3: PRINTS FROM VEGETABLES and FRUITS __________________________________________________________________

Time Allotment: 1 session – I hour

Lesson Summary ART HISTORY

Printmaking was done by people from different parts of the world to create designs on paper, textile or on walls. The objects printed often times came from natural objects like vegetables and and fruits.

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

Create a print from different cut old vegetables or cross section of fruits and compose these using different designs: radial, repeated motifs, alternating motifs contrasting motifs. Product: cards, cover

Vegetable or fruit prints exhibit a variety of texture and lines because the cut vegetables or fruits have interesting shapes,. .

Clarity and design in a print is achieved by doing a clear print and by arranging the object print following a design that is radial, border design, repeated, alternating or contrasting.

OBJECTIVES

The student will:

1. realize that nature is a rich source for objects that can be printed, like the various fruits and vegetables: potatoes, okra, stalk of the banana leaf,

onions, calamansi, tomato, ampalaya, tomato, that when cut, have interesting cross sections

2. be able to create prints using cross sections of old vegetables and fruits and make a pattern out of different fruit or vegetable prints.

3. appreciate how men were able to create unique prints from vegetables and fruits and describe the different patterns created from prints.

ART VOCABULARY ( ELEMENTS)

1. vegetable or fruit print

2. cross section

3. natural dyes

4. textures - veiny, rough, spotted, dotted, striated, ribbed

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 3: PRINTS FROM VEGETABLES and FRUITS

__________________________________________________________________

RESOURCES, MATERIALS

1. samples of vegetable and fruit prints

2. print making materials: natural or manmade dyes paint on cloth or sponge brushes or cloth rolled in a ball old newspapers, rags, water

PROCEDURE

MOTIVATION

Show samples of prints from vegetables and fruits and ask students to identify it.

Demonstrate how to create a print using vegetable and fruit cross sections: Ink the object by brushing or stamping the dye or ink or paint on the sponge.

Press the inked object on paper or cloth and put pressure so the print is clear.

PROCESS AND ASSESSMENT

1. Cluster the students by groups so they can share the materials. Ask them to Look at the Learning Guide to see how prints are done.

2. Let them plan how they will print the objects. Will the design be circular, oval, rectangular, or square?

3. Practice inking the object and printing it. The print must show distinct texture, Lines and designs of the fruit or vegetable.

4. If cards are going to be the end product, fold the paper and plan the design of placement of the prints.

5. Assign the groups to create prints : a. from one vegetable only b. from a combination of 2 fruits c. show overlapping prints as a variation

6. Hang prints to dry and display, so others can appreciate and assess them. Use the standard criteria used for rubbings and judge the fruit and vegetable prints, their own and those of others.

7 . Fill up and write their thoughts and reactions on the Reflection Page in their guide.

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 4 : STENCIL PRINTS ___________________________________________________________________ Time Allotment: 1 session – I hour

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISM

To decorate a big surface and repeat A design or motif, People in the older times used stencils.

Create a stencil from thick paper, plastic or wax paper by cutting out the shape or letters you want printed.

Stencils allow the artist to replicate his/her design many times over.. This is found in borders of walls or on walls, or for posters and Tshirts..

Clarity and design in a print is achieved by doing a clear print and by arranging the object print following a design that is radial, border design, repeated, alternating or contrasting.

OBJECTIVES

The student will:

1. know the history of stenciling, since it is a tradition in countries like India and France and the early American people.

2. create a simple stencil using letters and a variety of geometric or natural shapes, which can be used on T-shirt or cloth or a big poster.

3. appreciate the skill of those who can print stencils with artistry, neatness and accuracy. ART VOCABULARY

Stencil - has the design cut out from the paper or waxed paper Brayer or roller – another way of applying the paint or ink, using a rubber roller Sponge stamp – stamping the ink on the cut out portions of the stencil using the sponge with paint printer’s ink or acrylic ink - different kinds of ink for textile or any surface.

RESOURCES, MATERIALS

Check Learning Guide for steps demonstrated in creating a st encil and printing it Waxy paper or plastic Sponges Acrylic or water-based ink in black or different colors (from the hardware)

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 4 : STENCIL PRINTS

__________________________________________________________________________________

PROCEDURE

MOTIVATION

1. Display products that have stenciled designs: T-shirts, mugs, posters, cards, bags, book covers etc.

2. Discuss with students how the prints were made.

3. Demonstrate (if students know the process, let them do the demonstration) The steps in stencil printing. (Look at the Learning guide)

PROCESS

1. Student draws his/her design on a piece of paper.

2. Cut out the parts you want printed by using a pair of scissors or cutter. Exercise caution when using sharp tools like the cutter. Use old newspapers under the paper when using a cutter.

3.

Place the cutout stencil on top of the paper or T-shirt or cloth and using a Sponge, dab some paint or ink and make sure there is no excess. Dab the

Sponge on newspaper to check the consistency and thickness of the paint.

4.

Once the design is printed, lift the paper and place it on another paper Or cloth and repeat the process.

ASSESSMENT

1. Hang the stenciled paper or cloth to dry and display after.

2. Select the works with well-printed stencils; with well-planned designs and clear letters.

3.

Which stenciled products can be sold in the future? How can people make

A business out of stencil printing?

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 5 - LINO CUT AND WOOD CUT __________________________________________________________________

Time Allotment: 1 session – 1 hour

Lesson Summary

ART HISTORY

ART PRODUCTION

Printmaking has many techniques. Wood cut and wood blocks were used for printing books and their illustrations. An easier medium are linocuts, since it is made of rubber. Presently, We have many artists using different media to create prints.

Create a print using small rubber sheets or soft wood like palo china or batikuling. The master plate has to be carved using sharp woodcarving tools.

ART APPRECIATION

ART CRITICISM

Rubber or wood master plates can print hundreds of prints like in the making of a book when printing presses were not yet invented. Artists carved those unique prints.

Clarity and design in a print is achieved by using sharp tools in carving the lines and textured areas. A good print shows contrast in lines and textured areas.

OBJECTIVES

The student will:

1. look at the works of different Pilipino printmakers and analyze their different styles

and topics and what makes each one distinct.

2. create a lino cut or woodcut by learning how to use carving tools carefully and with enough skill to be able to create different kinds of lines and textures, and to be able to print several editions of the print.

3. recognize a good print by its qualities: clear and crisp lines and contrasts between textured and linear areas and solid areas; variety of lines and shapes; clear images.

ART VOCABULARY

1. lino cut 2. wood cut 3. brayer or roller 4. carving; carving tools 5. printer’s ink 6. artist’s edition 7. original print

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 5 - LINO CUT AND WOOD CUT

__________________________________________________________________________________

ART ELEMENTS AND PRINCIPLES

1. texture – created by using different carving tools (V-shape; u-shape) 2. lines - thin lines and thick lines, rough lines, jagged lines created by using different carving tools 3. contrast of negative and positive space – created by carved areas and solid areas

MATERIALS AND RESOURCES

1. rubber sheet (sole of shoes and slippers) 2. wood block (palo china or any soft wood that can be carved by woodcut tools) 3. wood cut tools 4. printer’s ink 4. roller or brayer 5. cloth to put under the rubber or wood plate 6. absorbent paper or textile

PROCEDURE

MOTIVATION Show the prints of different Pilipino printmakers and ask the students to discuss the different styles, compositions and topics of each.

Demonstrate the steps for making a linocut or woodcut.

PROCESS

1. Draw the design of the lino cut, using thick crayons so that the contrast between carved area and solid area is clear. 2. Carve out the areas that are meant to be white and carve the texture the other areas

3. Make a rubbing first by putting soft paper on top of your rubber or wood block to see if there is a strong contrast between the white, the black and the textured areas. If not, continue carving more areas.

4. For the final print, ink the plate by using the roller or brayer to spread the ink evenly over the surface. Too much ink will smudge the plate and too thin or little ink will create a blurry print. It takes practice to ink a plate, so do several trials.

K to 12 ART for GRADE 7 SECOND QUARTER: PRINTMAKING MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES ACTIVITY 5 - LINO CUT AND WOOD CUT __________________________________________________________________________________

APPRECIATION AND ASSESSMENT

1. Display several editions of the print and choose the better prints for exhibit.

2. Give comments about your work: the original plate; the prints; contrasts achieved by the carved areas and the solid areas. Comment on how your print can be improved.

3. view the prints of the students in the class. Pick out and acknowledge the outstanding prints and give reasons for your choice.

4.

Write your comments on the Reflection Page in the Learning Guide.

5. Discuss how you can use prints to make a livelihood or for your own use. Since you can produce multiple prints, with whom will you share your prints.

K TO 12 ART for GRADE 7 THIRD QUARTER: UNIT III – PRINTMAKING MODULE 6

Lesson 2

Time Allotment

: PRINTMAKING AND NEW MEDIA

: EVOLUTION OF PHILIPPINE PRINTING

: 1 session (60 minutes)

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

Printmaking began with the publication of the first book of prayers by the Spanish Franciscan friar Juan de Plasencia titled Doctrina Christiana in 1593. It was bilingual with Spanish text and Tagalog translation in roman alphabet and in ancient Tagalog baybayin. This was printed using wooden blocks. When printing using movable type came, more books were printed mostly by the Chinese. Later, Filipino printers like Diego Talaghay and Tomas Pinpin of the Dominican

Using any technology Appreciate the effort available to you and artistry of the first (camera, duplicating printers in publishing machine, printmaking the first books using materials like crude and difficult stencils, squeegee, printmaking ink or textile paint, methods. create a poster that explains printmaking Cite advantages and in the Philippines. artistic compositions possible with the new You may also create printing technology a power point like the camera, presentation using computer, duplicating pictures, letters, and machines, and decorative borders stencils. to create a report on the history of printmaking in the Philippines.

ART CRITICISM

Compare the qualities of old publications and present ones and be able to show the artistic qualities of each type. Critique posters created in class in terms of layout, use of fonts and letters and Illustrations to bring across a message. Discuss importance of present day prints and posters and its economic value.

press printed more books. At present, we have many printmaking methods, both manual and by machine.

OBJECTIVES

The student will:

1. Be able to present the history of printmaking in the Philippines and other topics his group has selected using varied printing techniques.



Lesson 2


2. Be able to show in their group report the history, the personalities, and the various forms printmaking that evolved through the decades in the Philippines because of the availability of new media.

3. Be able to critique the graphic qualities of the presentations of the different groups using critieria for a a good graphic design as applied to posters and presentations.

VOCABULARY

Woodblock

- a method of printing where the letters and images are carved on a wooden block in reverse and printed on paper. Several editions

can be printed in this manner.

Movable type hasten

a method of printing where letters can be rearranged in a row to

printing a page since the letters can be reused with every page.

Stencil

is a method of creating a master by cutting out the letters on a sheet and squeezing the paint through the cut-out portions.

Digital prints the

a method of creating images and letters using pixels that capture

letters and objects or sceneries, which can be captured in an image or printed using a digital printer which can be in color or black and white.


Balanced layout - in a print or poster, balance is created by having contrast of textured areas and plain or solid areas; strong colors contrasted with light colors; geometric lines contrasted curvilinear or solid areas.

Emphasis

is created by focusing on one element or figure in a poster.

Graphic design

is design using letters and geometric shapes and natural shapes for prints, posters, magazines, books, covers, etc….

contrast

in graphic design is achieved by juxtaposing light colors against dark; geometric shapes against organic shapes; textured areas against solid areas.



Lesson 2


MATERIALS

Duplicating machine (if school or places around school has them) Camera Cell phones with camera Computers Printers Stencil paper Ink or paint

PROCEDURE

1. This period can be used for the students to work on their group project or it can be used for the presentation of the group works.

2. Let student groups state their topic before they make their graphic Presentation. (It would be ideal if a computer, an LCD and printer are available for the presentations). However, if these are not available, The students can still use handmade stencils or rubber prints or duplicating machines.

3. Before the presentation ask the class to note the following:

a. the topic - how adequately was it explained. b. The visuals – did the visuals clarify how printlaking was used In their topic. c. Artistic qualities of the visuals and graphic designs used What art elements and principles were used? d. participation of all members of the group. e. impact of the presentation/ poster/ graphics used/

4. Let students answer the Learning Guide Reflection page 123. and ask Them to label the different technologies that we use at present in Learning Guide Final Glance p 137.

SYNTHESIS AND ASSESSMENT

1. Let each group assess their presentation and their graphic designs based On the points in # 3 of PROCEDURE.

2. Let students choose the best presentation among the different groups based on their assessment.

K to 12 ART for GRADE 7 FOURTH QUARTER: UNIT IV - SCULPTURE MODULE 7

Lesson 1

: SCULPTURE

:

EARLY FORMS AND TRADITIONAL SCULPTURE IN

THE PHILIPPINES

Time Allotment

:

2 session of 60 minutes each.

Lesson Summary

ART HISTORY

ART PRODUCTION

ART APPRECIATION

ART CRITICISIM

The ancient art of pottery existed in the Philippines as early as 3,500 years old as seen in the Manunggul Jar found in a Palawan cave.

Create a sculpture using available materials – clay, mud, vegetables and fruits, and found objects.

Discuss the purpose of the early sculptures done by our early ancestors and appreciate that most of them had a spiritual dimension.

Critique one’s sculpture and the work of others in terms of design, uniqueness and use.

Pottery and carving was also practiced in the Mt. Province (bul-ul, or god figures)and in different parts of Mindanao (sarimanok, panulong, graveyard markers; Leta-leta figures)

Relate the shape of early figures found in the Philippines to those found in other countries in terms of form and design.

Compare the materials used by early Filipinos in different parts of the country in creating their sculpture.

OBJECTIVES

The student will:

1. appreciate the crucial role of sculptures in the lives of early Filipinos in different parts of the Philippines and be able to distinguish its uniqueness and specific characteristics.

2. create sculptures using available materials and exhibit them.

3. compare the sculptures of our ancestors from different parts of our country and be able to explain the purpose of their creation.

4. critique the sculpture one creates and those created by others.


: SCULPTURE

Lesson 1

:

EARLY FORMS AND TRADITIONAL SCULPTURE IN THE PHILIPPINES

VOCABULARY

Prehistoric art - art created by Filipinos before the coming of the Spaniards and before written history.

Burial jar

- the Manunggul jar was a secondary burial jar, which means that the jar contained only the bones of the person who had long been buried and only the bones remain and are kept in a jar for safekeeping.

Bul-ul

are god figures carved out of wood, and found in the Cordilleras to guard the ricefields and rice harvest.

Sarimanok

is a mythological figure found among the Maranaos in Mindanao in the shape of a bird with intricate wings and tail, and holding a fish in its beak. This is similar to the bird sculptures like the Garuda of Indonesia.


Three dimensional – sculptures are three dimensional because they have height, width and depth.

Curvilinear wings

the designs seen in the sarimanok are curvilinear designs in the

and tail, which is also seen in their okir motifs, derived from vines and flowers.

MATERIALS

Clay or any similar materials Variety of vegetables and fruits Carving tools or sharp knife Bamboo sticks and toothpicks

PROCEDURE

1. Let students read their Learning Guide, Module 7 Sculpture to know the background and overview of early sculptures in pre-historic Philippines.

2. Let them look at the different pictures of early sculptures from the Cordilleras, (bul-ul), from Palawan (manunggul jar and maitum jars), from Mindanao (sari-manok ) and be able to describe these and their purpose.


: SCULPTURE

Lesson 1

:

EARLY FORMS AND TRADITIONAL SCULPTURE IN THE PHILIPPINES

3. Inspired by the sari-manok, ask them to use the different materials they brought: clay or variety of vegetables and fruits, in carving these into bird-like shapes. (See samples of carved fruits in the pictures in the Learning Guide page 119)

4. Allow the students to work by two’s or three’s so they can share their materials and they can complete their fruit sculptures quickly as these would dry up or wilt quickly. Tell them to try to complete their sculpture in one lesson.

5. Let students exhibit their works in a public place where others students can view their vegetable and fruit carvings.

SYNTHESIS AND ASSESSMENT

1. Ask students to critique their carvings according to the following criteria: a. uniqueness of designs carved b. variety of carved designs and patterns c. variety of vegetables and fruits used. d. Variety of colors in the sculpture.

2. Let students choose their “favorite sculpture” and give the reasons for their choice.

3. To test their recall, show them pictures of the following: a. bul-ul b. sari-manok c. manunggul jar d. maitum jar e. panulong

Ask them to identify the sculpture; the place where it came from; and the purpose of the sculpture for our ancestors.

K TO 12 ART for GRADE 7 FOURTH QUARTER :

UNIT IV – SCULPTURE

MODULE 7

:

SCULPTURE

Lesson 2 PERIOD

: SCULPTURE DURING THE SPANISH COLONIAL

Time Allotment

: 4 sessions or 240 minutes

Lesson Summary

ART HISTORY

ART CREATION

ART APPRECIATION

ART CRITICISM

Sculpture during this period was largely religious and served as the visual aids for the friars in their mission to convert the Filipinos to Christianity: thus, we had figures of Jesus, the Blessed Virgin and altars carved with niches for saints. However, the Filipinos’ indigenized the fiestas and the religious figures (Sto Niño, San Nicolas, San Isidro Labrador, etc) and the colorful folk art and decoration: Christmas parol Lenten palaspas Tinapay ni San Nicolas, taka ng Paete, balot

Create a Historical and Cultural Matrix of the: sculptures, architecture during the Spanish period in your town or place, the religious festivals observed and the décor they use.

Write a detailed description of the art forms and sculptures that began during the Spanish period that are still being practiced in the present times.

Compare the sculptures found in the Philippines which were created during the Spanish period, and similar sculptures in other European countries – indicate similarities and differences.

Interview, take pictures and talk to craftsmen and artisans who still create these artforms that began during the Spanish period, who are living in your area.

Describe: The design The colors used Materials used Event it is used for Where is it found Who creates them

pastillas ng Bulacan, Kiping ng Lucban

VOCABULARY

Santos - are carvings of religious figures, usually of wood, created during the Spanish Period. Sometimes, the hands and face are of ivory. Their clothes were Intricately embroidered and at times, contained precious stones.

Taka sold

are papier mache figures of animals or persons, made as decoration and

During religious harvest festivals in places like Paete, Sariaya, Lucban.



MODULE 7

SCULPTURE

Lesson 2

Palaspas

:

: SCULPTURE DURING THE SPANISH COLONIAL PERIOD

are young palm fronds, braided, woven and decorated for the ritual on the Lenten Palm Sunday to remember the entrance of Jesus by waving the palm fronds at the beginning of the mass.

Kiping

are brightly colored leaf-shaped décor hung together like a chandelier to decorate the houses in Lucban, Sariaya and other nearby towns in celebration of a good harvest in thanksgiving to San Isidro Labrador.

ART ELEMENTS and PRINCIPLES

Relief

when saintly figures are carved on wood (as in retablos or altar pieces) they are done in bas relief (low relief) or high relief, which means they protrude from the wood.

Repetition

shapes and colors are repeated as seen in the kiping in the feast of San Isidro Labrador.

MATERIALS

For the interview of an artisan or craftsman, the students need to bring tape recorder, camera or if possible a videocam so they can record not only the words and the face of the craftsman but also how he works and the artistic products he creates.

For the cultural mapping, the students need the same materials.

PROCEDURE

1. Ask students what they think the Spaniards left with the Filipinos. What are some of the practices, beliefs, rituals and festivals we have that were influenced by the Spaniards?

2. Ask them to read the Learning Guide (Module 7 Sculpture, Lesson 2Philippine Sculpture during the Spanish Period, page 118-120) and comment on the pictures of the different religious statues of the Sto. Niño, the Mahal na Birhen and the Nazareno. Let them describe the attire, and the feastdays of these three figures and in what province or city t hey are celebrated. What religious figures are found in your barrio, province?

3. Divide the class into geographic groups (those living close together belong to one group) and have a Cultural Inventory or Cultural Mapping of their place – indicating the sculptures and architectural buildings in their place. (Let them use the Matrix in the Learning Guide page 121).



MODULE 7

SCULPTURE

:

Lesson 2


4. Once they have completed their Cultural Inventory, let them present this before the class. They can include drawings and pictures of the sculptures and buildings they located in their place.

Their report should include the following: a. b. c. d. e. f.

sculpture’s description place and location material it is made of and its height, description artistic style artist/craftsman who made it historical or religious significance.

The completed Cultural Inventory can be displayed in the classroom for others to read and learn from.

5. INTERVIEW OF A LOCAL ARTIST or CRAFTSPERSON (groupwork) This is a good opportunity for students to discover and honor a local artisan, artist or craftsperson. It could also be a group of craftspersons. It would be good to set an appointment before the interview.

The group can bring the following so they can share their interview: a. tape recorder – to get the answers of the craftsperson verbatim. b. Camera - to capture the image of the artist and his works c. Video cam – to record the artist at work and record the different

phases of his work, and the different works he/she has done. (it would be commendable for the group to get A sample of the work of the craftsperson to share With the class).

6. The group shares their interview with the craftsperson to the class through the taperecording; pictures of the craftsperson and his/her works and crafts; maybe a video or film of how he/she works.

7. It would be wonderful if the group can invite the artist or craftsperson to actually come to the class and present his some of his works! This is a great opportunity for the students to encounter an artist face to face. Or, if possible, for the class to visit the artist and show appreciation for his works.



MODULE 7

SCULPTURE

Lesson 2

:


ASSESSMENT AND SYNTHESIS

1.

Create a common cultural map of one’s province, city or place and locate the different sculptures, architectural works and crafts based on the group work and reports, in the particular street or locality.

It should answer the need of newcomers and tourists: What cultural artifacts and icons can I see here in your city, province or barrio?

2.

The students should go beyond the information provided by the usual tourist brochures and handouts.

3.

Create a Cultural Newsletter of the sculptures, religious festivals and Craftsmen/women in the barrio, province or city based on the reports given. The different groups can be assigned to do a page each.

K TO 12 ART FOR GRADE 7 FOURTH QUARTER: UNIT IV SCULPTURE, DRAMA AND FESTIVALS MODULE 7 : SCULPTURE Lesson 3

: SCULPTURE DURING THE AMERICAN PERIOD UP TO THE PRESENT

Time Allotment: 4 sessions of 60 minutes each

Lesson Summary

ART HISTORY

Sculptures during the American Period represented historical figures or events as seen in the works of classical sculptor Guillermo Tolentino. In present times, we see this in modernist Edwardo Castrillo. Works using local materials like stone and wood of Napoleon Abueva; steel of Solomon Saprid and glass of Ramon Orlina were of different subjects. Junyee and Rene Villanueva created installations using natural materials like leaves, seeds, stones, and

ART PRODUCTION

ART APPRECIATION

Create a sculpture A Filipino sculptor using “junk” or who uses discarded discarded metal, metal for figures and wood, steel materials barong-barong and wood, plastic, houses is Raul and other natural Arrogante. materials It can be a realistic, By looking at the expressionistic, works of the local abstract or imaginary sculptors, one can sculpture. label the period they lived in because of Artists who use the subject, the style “junk”, of their sculpture or found material are figures and the those who created materials they used. the imaginary creatures and monsters found all over Marikina City. Pablo Picasso created a “bull’s head” out a bicycle seat.

ART CRITICISM

Create a matrix of styles used by our sculptors to represent these periods: Classical Modern/ Figurative Experimental Expressionistic Abstract Name the sculptor and the title of their work and compare their different works according to topic, materials used and style.

bamboo This period also saw the influence of Western sculptors as seen in the work of our local sculptors.

VOCABULARY Classical style

- follows the Greek and Roman style of carving a human body following standard measurements so the result is an “ideal body”

and face. Modern, figurative sculptures like Abueva’s are not realistic, but one can still distinguish that it is a human person, but done in a stylized or figurative manner.

Abstract style do

sculptures that are abstract explore shapes, lines, textures and

not necessarily show a person or object.



Installation art

are works created in and adapted to a particular place. Often, the work is installed outside and is exposed to the elements – rain, sun, water, and the materials do deteriorate over time. It is not the aim of installation art to last, rather, its aim is to show how the sculpture interacts with the environment, or is part of the environment.


Form

- sculptures have form or are three dimensional. It is work “in the round” meaning it can be viewed from the top, bottom, side, front, back and this distinguishes it from 2-D art like paintings and drawings or prints.

Texture

sculptures are made of materials that have different tactile qualities: Metal is cold and hard; wood is warm and sensuous; leaves, seeds and twigs are varied in texture – they can be spiky, hard and fragile, or smooth, soft and malleable.

MATERIALS

Visual references to the different sculptures and sculptors are found in the Learning Guide, module 6, Sculpture, Lesson 3.

For the Junk art, students can be assigned to look around their neighborhood and gather discards: plastic bottles, covers, tin cans, metal parts of machines from car repair shops or computer shops and other junk material of household machines. Students can also use natural materials like Junyee (narra pods, seeds, sticks, Coconut husks, shells , twigs, vines, etc)

PROCEDURE

SESSION 1 1. Ask students what sculptures they see around the town or city they are in. What kind of figures are they? What is it made of? Who was the sculptor?

2. Let them read the Learning guide, Module 6, lesson 3- Sculptures during the American Period up to the present. Ask them to identify the sculptures they see and ask them if they know who created them.

3. Divide them by groups to research on the different sculptors and their works aside from the ones in the Learning guides. If there are local sculptors, let students interview them or invite them to class.



SESSION 2 4. Allow time for students to do the research (text and visuals) and then present them in class. Display their research work on the walls of their class so the others can learn about other sculptors and identify their sculptures. Discuss the following: a. b. c. d. e.

period when artists did his work particular materials he used style in creating the sculpture topics used influences of the sculptor.

SESSION 3, 4 5. Assign students to collect “junk material” or found materials, and work with others in the group:

a. based on the materials they have collected, discuss with the group what their sculpture will be: a person; an imaginary creature; a Philippine mythological creature; a monster; an imaginary machine; etc… What is important is for the group to make sketches of how they envision their sculpture to look like, using the materials they have.

b. Have wire available for them to put their junk material together.

For “nature materials”, abaca twine or vines can be used. If soldering machine is needed, ask students to seek the help of repair shops in the neighborhood, since caution is needed in using these.

6. Once the sculptures are done, choose different sites in the school or even in the neighborhood, to display the works, so that other students and the public can enjoy them. The teacher can have a formal opening of exhibit. Invite the junk shop or repair shop owners that donated materials.


1. Ask the students to assess their own group work and the work of the other groups on the following points: a. b. c. d. e.

use of a variety of junk material originality of concept for the sculpture originality of form and design originality in the use of materials. interesting if viewed from different angles

2. Let students do the Reflections , Final Glance and Evaluation in the Learning Guide.

K TO 12 ART for GRADE 7 FOURTH QUARTER

: UNIT IV - SCULPTURE, DRAMA AND FESTIVALS

MODULE 8 FESTIVALS

: VISUAL ARTS IN PHILIPPINE DRAMA AND

Lesson 1

Time Allotment:

:

TRADITIONAL AND MODERN PHILIPPINE DRAMA

2 session of 60 minutes each

Lesson Summary

ART HISTORY

ART PRODUCTION

Traditional drama in Working by groups, the Philippines was replicate one of the based on local rites local dramas and and rituals which rituals during the the Spanish friars Spanish times, used and adapted based on your to Christianized researches. Filipinos. Thus we have the senakulo, Some forms are still the Santa Cruzan, practiced up to the the present li ke the duplo, subli, moro pasyon,Santa moro, moriones, Cruzan and the Pabasa ng Pasyon. senakulo and moroand senakulo. moro. The dramatization with songs, dances and costumes made Christian doctrines more appealing to the local folks all over the country where the Spanish friars settled Modern drama like

ART APPRECIATION

ART CRITICISM

If possible, witness one of the dramatic local rites and rituals in your barrio, city or province and write about the experience.

Compare the rituals of the different dramas and religious rituals, and the visual aspects of that event.

Describe the ritual, the persons involved and the attire they wear, the songs and prayers and dances they perform and the participation of the local people in the ritual/drama.

Explain how the costumes, the decoration, the singing and the participation of the ordinary folks and the re-enactment of certain dramas serve to imbed this in the consciousness of the people – whether young or old.

the zarzuelas and now the telenovelas are not religious in character. Their plots were usually human romances, conflicts, and resolutions. .

OBJECTIVES

The student will: 1. become familiar with traditional rites and rituals of their place, barrio, town. by interviewing their parents and grandparents about these while they re-enact some of the rituals.



MODULE 8

: VISUAL ARTS IN PHILIPPINE DRAMA AND FESTIVALS

Lesson 1

:


2. understand that the arts are an important component of Philippine dramas and rituals and this includes not only the visual arts but also music and drama.

3. be able to compare the different festivals in their locality based on several elements.

4. compare a traditional drama and ritual to the present dramas and telenovelas.

VOCABULARY

Senakulo

-

theatrical dramatization of Christ passion and death which is a reenactment of events leading to the His crucifixion; done in Lent

Santacruzan

done in May, this is a dramatization of St. Helena’s search for the cross and is a novena procession with persons chosen to wear attires of the different characters of the Bible.

Moriones

comes from the word “morion” the helmet of Spanish soldiers.

This is the dramatization of one Spanish soldier named Longinus, who pierced the heart of Christ on the cross to make sure He was dead, but a drop of blood fell into his blind eye. Miraculously, he was able to see and declared Christ’s divinity. For this he was beheaded. This is celebrated in Marinduque.

Moro moro

or komedya, introduced by the Spanish, with brightly costumed princes and a princess of medieval Europe. Usually, they depict epic stories of love and vengeance, with long and dramatic fighting scenes, lasting three to f ifteen hours meant to entertain the local people.


Colors

usually, these dramas had characters in bright and elaborate costumes of bright colors to attract the viewers. Since the characters were known by their attire, they followed tradition.

Sounds

since microphones were unheard of in the Spanish times, the characters in the drama relied on music played by local musicians, or they sung their parts with accompaniment of musical instruments.



MODULE 8


Lesson 1

:


MATERIALS

For a reenactment, students can use recycled costumes and clothes and they can create their accessories from found objects which they can paint to look like gold or silver. (They need cardboard, glue, string and found materials)

For their research, the students can review their Learning Guide, or look at old calendars, or search in their computer for pictures of the different rituals and dramas.

PROCEDURE

SESSION 1 1. Let students become familiar with the different Philippine rituals and dramas By reading the Learning Guide, Module 8 on Philippine Drama and Festivals. Ask them to read the overview, and the objectives of the module.

2. Connect the elements of a western drama (exposition, development, climax, denouement, conclusion ) to the religious dramas and rituals and review if these elements are also f ound.

3. Read Lesson 1, Memory Check and let students answer the questions and Identify the various pictures of the different rituals and dramas. Let them read data on the Traditional Dramas in the Philippines (Let’s Talk About It)

SESSION 2 4. Dividing them by groups, ask each group to re-enact one of the traditional Philippine rituals and drama, complete with costumes and recited parts. (they can re-enact a portion, so all groups can perform). Allow one session for them to create their costumes and rehearse their performance for presentation.

5. Encourage them to interview actors of the different religious practices (for example, the singers of the pasyon, or actors of the senakulo) and if possible invite them to class to perform.


Let students perform by groups the different religious dramas and rituals and invite an audience for their presentation. Compare this traditional drama with the current dramas being performed in the country and over television. Ask the students to fill in the matrix analyzing traditional drama (See Activity 1 of this Module 8 in the Learning Guide) as their assessment and synthesis.

K TO 12 ART FOR GRADE 7 FOURTH QUARTER

: UNIT IV – SCULPTURE, DRAMA AND FESTIVALS

MODULE 8 FESTIVALS

: VISUAL ARTS IN PHILIPPINE DRAMA AND

Lesson 2

Time Allotment

: PHILIPPINE FESTIVALS

: 4 sessions of 60 minutes each

Lesson Summary

ART HISTORY

ART PRODUCTION

They say that Filipinos celebrate every event with a festival, and in different parts of the country and provinces, there is a different festival being celebrated more than once every month like the following:

Create a mask you Appreciate the role of can wear, based on festivals in one of the festivals of strengthening the the Philippines bond among people using cardboard, of a community when beads, buttons, they celebrate feathers, found together by objects and glue. decorating their Create an churches, houses accompanying attire and themselves in or costume to go with thanksgiving or in it. Let the whole praying for a bountiful class celebrate by year. groups.

Ati-atihan (Aklan) Pahiyas (Quezon) Panagbenga (Baguio) Sinulog (Cebu) Dinagyang ( Iloilo) Maskara (Bacolod) Kadayawan (Davao) Lamilamihan (Basilan)

ART APPRECIATION

ART CRITICISM

Compare the different festivals and rituals in terms of their: -Length of time it has been celebrated -rituals and rites that people observe. - required attire or décor of the festival -music, food and other traditional practices

OBJECTIVES

The student will:

1. appreciate the variety of various Philippine festivals and their uniqueness in terms of the manner it is celebrated: rituals, décor of houses and attires of the participants and the community, the food served, music played and other activities..

2. realize that practically all provinces in the country have their own festival which develops pride of their town or province and commemorates either festival for their patron saint, thanksgiving for a bountiful harvest, or to highlight the province’s produce or cultural icons.

3. create a replication of a festival familiar to them and celebrate it in school complete with costumes, songs and décor.



MODULE 8


Lesson 2


VOCABULARY

Fiesta or festival - is a communal celebration of a patron saint, a commemorative or historical event, thanksgiving for a bountiful harvest or a blessed circumstance; or a showcase of local indigenous peoples, their rites and rituals, their skills and products, and their traditions.

Patron

is the name the local people give their patron saint for whom they dedicate the festival and celebration for.

ART ELEMENT AND PRINCIPLES

Mask-making

is a process of creating a face covering after a particular style and design. For example, the masks at the Maskara festival are all smiling, while the masks in the Ati-atihan are unique and

iimaginary, using different materials and found objects.

Baroque décor

Because the masks made tend to be heavily decorated and fully

covered with beads, sequins, buttons and found objects, and glitter, art lovers label them so “baroque”.

Texture

Ati-atihan masks are always a surprise because the local people decorate it with such original materials and various textures that they are literally, works of art!

MATERIALS

For the reenactment of one of the Philippine festivals, the students will need a lot of found materials, beads, seeds, cardboard, tetra pack paper, brooms, coconut shells, etc… and glue, scissors, wire and other construction materials like masking tape, etc..

PROCEDURE

SESSION 1 1.

Let students recall the different festivals they know of. Read Lesson 2 of Module 8 in the Learning Guide. They should identify the festivals based on the pictures on this page, since these are popular festivals in the Philippines. Ask them to describe the attire of the people, the reason for the festival, the décor, food and other unique features.

Ask them to name local festivals that are celebrated in their town and discuss how it is celebrated and for what reason is it held.



MODULE 8


Lesson 2

2.


Divide class into three groups (Luzon, Visayas and Mindanao) and let them research on the festivals celebrated in that island group. They should make a report that will include: a. name of the festival b. its history and why it is celebrated c. practices they do during the festival d. attire of the townsfolk and décor of their place e. food that they serve during the festival f. other products and practices. g. economic gains of the festival for the townspeople h. participants in the festival

SESSION 2

3.

Let each group report on their festivals by island group. Encourage them to use multi-media and actual costumes and masks.

4.

Le the class select the : most colorful presentation best research, history biggest participation of members of group most interactive with audience clear explanation

SESSION 3

5.

Continue the use of the costumes and attires and let the students add to

their clothes, masks, décor. Assign a place in the room that they can decorate so that others can study their researches and appreciate their crafts.

6.

If the school permits, the class can involve other classes as audience by performing the festival in the school grounds.

SESSION 4

7.

After the presentation, let students write their Reflections (from the Learning Guide, page 123). Critique the presentation fo the different groups based on assessment given by the teacher.


Let students answer the instructions in Final Glance of the Learning Guide, Page 137) where they have to locate the different festivals in the map of the Philippines.

Gr. 7 Art TG (Q1 to 4).pdf

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