Ge 6 Art Appreciation Cobe

QuAmC Form 26.
NOrSU COBE-CQA Syllabus

Course Syllabus (Competency/ Outcome-Based Education: Curriculum Quality Audit)
Prepared By: Reviewed By: (Signature over PRINTED Approved By: Vice President, Academic Affairs
Name/s)
BELLADONA A. CORTEZ, D.Ed.

College Dean ROSEMARIE T. PINILI, Ed.D., Ph.D.
Effective
Code#: Revision#:___ Date Reviewed:______ Date Date:__________________
Approved:________________
___Standard___Law___Regulation
_ __ _ U NC ONTR OLLED ____C O N T R O L L E D
Discipline English Program Bachelor of Science in Business Administration
Course Code GE 6 Course Art Appreciation
Title
Credit Units 3 Duration 54 Hours
QuAmC Form 26. NOrSU
Program Placement COBE-CQA Syllabus
First Semester Prerequisit
e
A. COURSE DESCRIPTION AND COURSE INTENDED LEARNING OUTCOMES (CD-CILOs/ Outcomes)
Art Appreciation is a three-unit course that develops students' ability to appreciate, analyze, and critique works of art. Through
interdisciplinary and multimodal approaches, this course equips students with a broad knowledge of the practical, historical, philosophical, and
social relevance of the arts in order to hone students' ability to articulate their understanding of the arts. The course also develops students}
competency in researching and curating art as well as conceptualizing, mounting, and evaluating art productions. The course aims to develop
students' genuine appreciation for Philippine arts by providing them opportunities to explore the diversity and richness and their rootedness in
Filipino culture.
At the end of the courses the students should be able to:
Knowledge
1. Demonstrate an understanding and appreciation of arts in general, including their function, value} and historical significance
2. Define and demonstrate the elements and principles of design
3. Explain and evaluate different theories of art
4. Situate Philippine arts in a global context
Skills
1. Analyze and appraise works of art based on aesthetic value, historical context} tradition, and social relevance
2.Prepared
Mount By:
an art exhibit (concept developments production and postproduction, marketing, documentation, critiquing)
Reviewed By: (Signature over PRINTED Approved By: Vice President, Academic Affairs
3. Create their own works of art andName/s)
curate their own production or exhibit
4. Utilize art for self-expression and for promoting advocacies
Values Effective
1.Code#:
Deepen their sensitivity to self, community, andDate
Revision#:___ society
Reviewed:______ Date Date:__________________
Approved:________________
2. Discover and deepen their identity through art with respect to their nationality, culture, and religion ___Standard___Law___Regulation
3. Develop an appreciation of the local arts _ __ _ U NC ONTR OLLED ____C O N T R O L L E D
Program Standards/ BGI

(Ref DM: Constructive Alignment)
QuAmC Form 26. NOrSU COBE-CQA Syllabus
B. COURSE CONTENT AND STRUCTURE (CCS/ C ontent)

Intended Learning Outcomes Outcomes-Based Teaching- Outcomes-Based
process+particularity/purpose+produc Learning (OBLT) (Ref DM: Assessment (OBA)(Ref DM: CILO
Constructive Alignment) Constructive Alignment)
Duratio t BGI (Ref
Content/Topic Teaching and Resource
n (by Unit/ Chapter/ Module) (Ref DM: Introduce/ Demonstrate/
Type DM:
(by week) Learning (Instructional (Ref DM: Written Tool/ Constructive
Practice)
Activity Material/ Work/ Performance Instrument Align-ment)
(ILO) (TLA) Reading) Task/ Major Exam)
1 NOrSU Pre-liminaries A-Respond by providing an Group Powerpoint of

Institutional Intended interpretation of NOrSU mission discussion slides on NOrSU
Learning Outcomes (IILOs) as integrated in this course VM, PILOs, and
as CILOs
√ VM/ Grad
Attributes S-Create an illustration of the
√ Cmps/Col/ Sch Goals CILOs emphasizing the contents Group creation
cascaded to of the course of illustration
Program
Intended Learning
Outcomes (PILO) K-Contextualize a position essay
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
cascaded to of the above concepts for the Group written

Course course essay
Intended
Learning
Outcomes
(CILOs)
2-3 Course orientation To determine student& Group Gardner’s Art Essay:

Grading system expectations of the course discussion: through the If you were an
Requirements oral Ages: A Concise artist, what
Relevance of the course To characterize artistic recitation History of kind of artist
expression based on Why study Western Art, will you be?
Art history Personal experiences humanities? Fred S. Kleirier,
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
with art What is art 3 ed., 2012, pp. What art field
Art appreciation, history? 1-2 will you
Art, creativity. L(K) Differentiate art What is art explore? Why?
imagination history from art appreciation, appreciation? Imagination in
and the expression Discuss the nature of arts Teaching and How can you
Preliminary expression Why do people Learning, utilize the arts
create works Kieran Egan, to express
of art? 1992, pp. 12-37 yourself,
(individual) your
Nature and community,
What is Young Children, and your
relation to
creativity? 2nd ed.,
others and
Why is Encouraging
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
creativity Creative Play with the

necessary in and Learning in earth?
art making? Natural
When can you Environments,
say that a Ruth Wilson,
person is 2012, pp. 1-17
creative?
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
4-5 Assumptions of art (Art is L(K) Clarify misconceptions Lecture Art Perception Insight paper:
universal; art is cultural; about art; Differentiate art Dynamics and Students will
art is not nature; art from nature Appreciation, select from
involves experience) (Art Guide Ortiz et al,, the following
as expression, as a form O(K) Categorize worlds of art questions: 1976, pp 5-12 topics:
of creation) by citing personal experiences “Art is good
because it is The Why is art
Visual arts (20, 30) L(K) Characterize the popular or Art Humanities, ageless and
Film (Digital arts/analog) assumptions of the arts s good Dudley and timeless?
Performance art because it is Fancy, 1968,
Poetry—performance universal” pp. 5-22 Why is art not
Architecture (Nature of Art) nature?
Dance Why is art
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
Film universal? Alampat: An Why does art

Literary Why is art not Introduction to involve
Theater nature? Art experience?
Applied Arts (Fashion, Why does art Appreciation,
Furniture) demand Perez, Cayas,
involvement? and
Narciso, 2013,
Suggested pp. 9-12, 16 21
activity:
Debate The
Humanities,
Dudley Fancy
and Rice, 1968,
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
pp. 5-12
Alampat: An
Introduction to
Art
Appreciation.
Perez, Cayas,
and
Narciso. 2013.
pp 9-12.15-21
(Imagination)
pp 38-40
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
6-7 Subject type L(K) Differentiate Lecture Alampat An Gallery visit

Representation content from subject Introduction to
(with subject) and Provide classic Art Reflection
nonrepresentational L, O, P (K) examples Appreciation, paper
(without subject) Classify artworks according to Perez Cayas, on students’
subject What are the and experiences
Source of subject two types of Narciso. 2013, during visit to
(nature, history, Greek L, O, P (S) representing pp 27-34 a gallery or
and Roman mythology, Analyze how artists present subject? museum
Judeo Christian tradition, their subjects in relation to the Cultural
sacred oriental texts, real subject What are the Appropriation
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
other works of art) sources and and the

kinds of Arts, Young,
Kinds of subject (history, subject? 2008. pp. 1-27
still life, animals, figures.
nature, landscape, Assign Art Perception
seascape, cityscape, students to and
mythology, myth dreams, bring either Appreciation,
Ortiz et aI.,
and fantasies) digital or
1978, pp 14-26
printed copies
of Filipino
contemporary
artworks to be
presented
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
orally or using
PowerPoint;
Identify and
discuss the
subject.
source, type,
and
kind of subject
8-9 Artists and artisans L(K) Video Myths and Oral recitation
Identify the medium in Documentary Symbols
Managers, curators, various forms of art, viz., Lecture Philippines. Quiz
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
buyers, collectors, art visual, auditory, and combined Topics to be Francisco

dealers arts discussed: Demetrio, SJ, Organize a
1978, pp. 406- forum about
Production process (k) What is the 411 an artist
(preproduction, Define an artist’s or difference artists or
production, artisan’s medium and between Alampat An artisans
and postproduction) technique artists and Introduction to brochure and
artisans? Art video clip to
Medium technique (K) What is the Appreciation, be uploaded
approach (in visual arts, Define the role of managers. relationship Perez, Cayas, on social
auditory, and combined curators, buyers collectors, art between and media
arts) dealers in the art world artists and Narciso, 2013.
artisans? Pp. 35-56 (Note before
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
GAMABA uploading, the

National Artists Which is more MAKING THE teacher will
important the THEATRE The check the
output for
Events/Exhibits/Managin artist or the Craft of the
validation and
g Audience artwork? Stage, Steven observance of
Patrick C. ethics)
What are Fernandez,
medium and 2010. pp. 15-20
technique?
Festival and
What are new Events
trends or management,
practices in Yeoman et at.
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
art? 2004. pp 53115
What is the
role of the
following
figures
(managers,
curators,
buyers,
collectors, art
dealers) in the
community?
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
10-13 History of Arts (K) Lecture Art through the Designed

 Cave Art Identify the underlying history, Ages: A rubrics for
 Ancient philosophy of the Creative Global History. creative
 Roman Medieval era or movements Presentation Kleiner, 15th output
 Renaissance ed., 2016, pp.
 Neo-classicism
O,P(K) Gallery Walk 1032-1047 Quiz
 Romantic Realism
 Neo Classify the various art (South arid
Impressionism movements by citing their Games Southeast Asia. Oral recitation
important characteristics such 1200-1980), pp.
as historical background, Talk Show 1048-1063 Brochure
factors, influential person, (China and about their
soclo- political issues, and Video Korea, 1279- respective
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
prevalent artist, art forms and Ducumentary 1980), pp. topics

media 1064-1066
(Japan, 1333- Long test
(S) 1980), pp. 994- (true or false,
Present the history and 1031 identification,
movements of the arts through (Contemporary fill in
a timeline Art the blanks,
Worldwide), pp. enumeration,
948.-993 essay)
(Modernism and
Postmodernism Individual
in Europe output
and America,
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
1945-1980)
14-15 Instrumental music: (K) Brief lecture Music as Creative
Baroque (Johann Identify the various genres in Discourse: output!
Pachelbel, Antonio music Creative Semiotic Presentations:
Adventures in
Vivaldi, Johan presentation Students will
Romantic
Sebastian Bach, O,P,S (S) (from solo to Music, Agawu, interpret
George Frederic Make a creative interpretation group, 2009 The music through
Handel, Franz of the different musical genres depending on Human Image their
Schubert) students’ in the Arts. own art
Classical (Joseph O,P, (S) interests in art Fernandez, expressions
Haydn, Wolfgang Translate sound or music into a expression) 2009, pp. 65-76 (music video,
Amadeus Mozart, new form and in a new context dance,
Art Perception
Ludwig Van and Poetry,
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
Beethoven, Franz Appreciation, painting etc..)

Schubert) Ortiz et al,
Romantic (Carl Maria) 1976, pp. 98-
121
Von Weber, Chopin,
Who Needs
Robert Classical Music?
Schumann, Franz Cultural Choice
Liszt, Richard Wagner, and Musical
Jacques Offenbach, Value, Johnson.
Johannes Brahms, 2002
Pyotr Ilyich
Tchaikovsky. Nikolai
Rimsky, Korsakov…
16 Soulmaking (artmaking) (K) Lecture Soulmaking, Individual
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
Crafting images Discuss the concept of Narciso, 2016 reflective

Crafting stories “soulmaking” Demonstration essay (8
Crafting instruments Mick Basa, The images and 80
performance (S) Simulation Soul Maker words to
Develop students artistic 2013. online describe self)
7 da Vincian principles potentials through oulmaking Workshop
Nature and Quiz
(V) Young Children.
Enhance students 2nd ed, Art output
sensitivity and awareness Encouraging with rubrics
toward their environment Creative Play
and Learning Art portfolio
(S) in Natural
Extend to the immediate Environments, Organize an
community the students art Ruth Wilson, advocacy art
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
works as a form of service 2012, pp. 3-17 or immersion

learning (e.g.. recyclable or workshop
materials) Dela Cruz et al., for the
Art Republik, community
2012, video, 10
Episodes
17-18 Visual elements in (K) Lecture Sourcebook of Quiz

Philippine Traditional Analyze how line was Philippine
motifs and crafts interpreted and utilized in Workshop Traditional Individual
traditional crafts Motifs and output with
Decorative motifs and Crafts rubric
symbols, classification (S) Processes,
Develop students’ ability in Mercedita Jose Visual tapestry
manipulating the elements of Dela Cruz,
Name/s)

Effective
Approved:________________
Duratio t BGI (Ref
Type DM:
Practice)
art 1982, pp. 18-34
(V) Ukkil: Visual

Document changes and the Arts of the Sulu
shifting environment such Archipelago,
as terrain, texture, sound Ligaya
through fusion of various Femando—
elements of art Amilbangsa,
2005, pp 15-38
C . REQUIRED READING MATER IALS AND REFERENCES

Print Agawu, Kofi (2009) Music as Discourse: Semiotic Adventures in Romantic Music. New York: Oxford University Press.
Antolihao, Lou (2004) Culture of Improvisation. Quezon City: Institute of Philippine Culture, Ateneo de Manila University
Name/s)

Effective
Approved:________________
Atkins, Robert (1993) ArtSpoke: A Guide to Modem Ideas, Movements, and Buzzwords, 1848—1944. New York:
Abbeville Press.
Cajipe-Endaya, Imefda (2002). How to Document One's Work. In Pa/eta 5: A Handbook for Visual Artists, ed. Eloisa
May Hernandez, pp. 24-26. Manila: NCCA.
Dela Cruz, Mercedita Jose (1982) Sourcebook of Philippine Traditional Motifs and Crafts Processes. Manila: Philippine
Committee for [the Unesco] Internation.
Dudley, Louise and Austin Faricy (1968) The Humanities: Applied Aesthetics. 4th ed. New York' McGraw-Hill.
Demetrio, Francisco (1978) Myths and Symbols Philippines. Manila: National Bookstore-
Egan, Kieran (1992) Imagination in Teaching and Leaming: The Middle School Years. Chicago: University Chicago
Fernandez Steven Patrick (2010) Making Theatre: The Craft of the Stage. Iligan City: MSU-lligan Institute of
Technology, Mindanao State University.
Fernandez, Steven Patrick (2009) The Human Image in the Arts. Iligan City: IPAG Arts Resource Managements Inc.
Fernando-Amilbangsa, Ligaya (2005) Ukki/: Visual Arts of the Su/u Archipelago. Quezon City: Ateneo de Manila
University Press.
Flores, Patrick (2002). The Role of the Art Critic. {n Paleta 5: A Handbook for Visual Artists, ed. Eloisa May Hernandez,
pp. 27-31. Manila: NCCA.
Flores, Patrick and Cecile Sta. Maria de la Paz (2000) Sining at Lipunan. Manila: Sentro ng Wikang Filipino, Sistemang
Unibersidad ng Pilipinas.
Guillermo, Alice (2001) Image to Meaning: Essays on Philippine Art. Quezon City: Ateneo de Manila University Press.
Honour, Hugh and John Fleming (2009) A World History of Ad. 7th ed. London: Laurence King Publishing.
Johnson, Julian (2002) Who Needs Classical Music? Cultural Choice and Musical Value, New York: Oxford University
Press.
Jose, Regalado Trota (2007) How to Document a Structure. In Balangkas: A Resource Book on the Care of Built
Name/s)

Effective
Approved:________________
Heritage in the Philippines, ed. Fernando Zialcita, pp. 25-28. Manila: NCCA.
Kleiner, Fred (2012) Gardner's AH Through the Ages: A Concise History of Western Ad. ed. Belmont, CA: Wadsworth.
Kleiner, Fred (2016) Ad through the Ages: A Global History. 15th ed. Boston: Cengage Learning.
Madale, Abdullah T. (1996) The Maranaw Torogan. Manila: Rex Book Store.
Maritain, Jacques (1953) Creative Intuition in Art and Poetry. New York: Pantheon Books.
Marien, Mary Warner and William Fleming (2005) Fleming's Ads and Ideas. 10th ed. Belmont} CA: Wadsworth. Minton,
Sandra (1986) Choreography: A Basic Approach Using Improvisation. Illinois: Human Kinetics Publishers.
Mittler, Gene A. (2006) AH in Focus. 3rd student ed. New York: McGraw-Hill/Glencoe.
Mora, Manotete (2005) Myth, Mimesis and Magic in the Music of the T'boli, Philippines. Quezin City: Ateneo de Manila
University Press.
Narciso, Norman (2016). Soulmaking. Davao City: Aletheia Publications.
Ortiz, Ma. Aurora, Teresita Erestain, Alice Guillermo, Myrna Montano, and Santiago A. Pilar (1976) Art: Perception and
Appreciation. 13th printing. Manila: University of the East.
Osborne, Harold (1970) Aesthetics and Art Theory: An Historical Introduction. New York: E. P. Dutton.
Perez, Teody Boylie, Rogelito Cayas, and Norman Narciso (2013). Alampat: An Introduction to Art Appreciation. Davao
City: Blue Patriarch Publishing House.
Pastor-Roces, Marian (1991) Sinaubang Habi: Philippine Ancestral Weave. Nikki Coseteng Filipiniana Series, 1.
Manila: Nikki Books.
Non-Print Basa, Mick (2013) The Soul Maker. Online, http://durianwriter.wordpress.com/tag/noy-narciso/

Capistrano-Baker, Florina (2006) Pioneers of Philippine Ad. Makati: Ayala Museum and Dreampulse Production, video,
32.25 min.
Corre, Fruto and Nancy Pe-Rodrigo (1999) Hinabing Panaginip (Dream Weavers), Bookmark video, 45 min.
Name/s)

Effective
Approved:________________
Dela Cruz, Elvie, JL Burgos, Imelda Morales, Opaline Santos, Ria Torrente, Kathrina Reston} Tom Estrera Ill, Allan
Alcantara, Erwin dela Cruz, Rene Bayking, and Joel Laserna (2012). Art republik. Asian Christian Arts Association, Inc.,
video. Episode 1: Siblings in Art; Episode 2: Spoken Words; Episode 3: Performing Bayanihan; Episode 4: Space
and Sound; Episode 5: Artists by Night Director's Cut; Episode 6: Tambayan; Episode 7: On Women; Episode 8:
Skin, Street and Comics; Episode 9: The Old and the New; Episode 10: The Collector; and Episode 11: The
Winner Is. Kleon, Austin (2012) Steal Like An Artist. TEDxKC. Online, https://www.youtube.com/watch?
v=oww70B9rjgw, 11:14 min.
Legarda, Loren (2015) Dayaw Episode 1 "Lupa, Karagatan, Kagubatan." NCCA. ABS-CBN News Channel Production.
Online, https://wtww youtube.com/watch?v=uDvufr-3xFw, 23.30 min.
Legardas Loren (2015) Dayaw Episode 2 "Mito, Kwento, Musika." NCCA. ABS-CBN News Channel Production. Online,
https://WM.youtube.com/watch?v=3Xp6PLC6xJU, 21.20 min.
Legarda, Loren (2015) Dayaw Episode 3. "Inukit, Hinulma, Nilikha." NCCA. ABS-CBN News Channel Production.
Online, https://www youtube.com/watch?v=-OPfH8RAbjQ, 20 09 min.
Legarda, Loren (2015) Dayaw Episode 4. "Hinabing Kasaysayan ng mga Kababaihan." NCCA. ABS-CBN News Channel
Production. Online, https://www.youtube.com/watch?v=mL013U97tlE, 23.20 min.
Legarda, Loren (2015) Dayaw Episode 5. "Pagbangon, Pagpapatuloy." NCCA. ABS-CBN News Channel Production.
Online, https://www.youtube.com/watch?v=oi0YEeYsNwQ, 22.52 min.
Legarda, Loren (2015) Dayaw Episode 6. "Parangal Sa Mga Ninuno." NCCA. ABS-CBN News Channel Production.
Online, https://www youtube.com/watch?v=ClrjWNVC9HA, 26.02 min.
Morris, Dave (2011) The Way of Improvisation. TEDxVictoria. Online, https://www.youtube.com/watch?v=MUOpWJ0riQ
10:49 min.
Roth, Gabrielle (2008) The Wave Dance. Online, https://www.youtube.com/watch?v=8cYYzcTzm6Y, 9:22 min.
D. COURSE REQUIREMENTS AND GRADING SYSTEM
Name/s)

Effective
Approved:________________
Course Requirements Students are required to comply with the following requirements:
 At least 80% attendance throughout the semester
 Quizzes
 Assignments
 Written examination
 Case analysis
 Reaction papers
 Analytical critiques and other class outputs
Grading System Attendance/ Class Participation 10%

Oral and Written Reports/Assignment 20%
Quizzes 30%
Major Examinations 40%
Total 100%
E . C L A S S P O L I C I E S (Specific to the Course)

Pedagogical The course implements Blended Mode of Instruction/ BMI through schoology.com. Enrollment to the said learning
Nature and management system will be discussed in the classroom. This is on a flexi-learning course as the FS fieldwork requires a
Delivery presentation of Action Research.
Attendance, Students are required to observe attendance in the class as monitored in the School Register Form. In case of BMI, the
Assignment and important dates are considered the attendance. Assignments and their submission are to be on time as announced or
Submission Policies as scheduled in the class sessions/ BMI.
Name/s)

Effective
Approved:________________
Uniform and Students are deemed accountable to follow the “Damn Psychology of Clothing” and the “RESPECT the 6 Cs” as
Decorum campaigned in the class through posters.
Academic Honesty All forms of dishonesty as indicated as ideal class rules in the basic and higher education is automatically equivalent to
and Scholarship a failing grade of the academic exercise. Plagiarism is automatic “Failed” in an output.
Special Education Persons with physical/ learning disabilities are requested to see the Professor within the first two weeks of the semester.
Need and Disability A doable strategy is designed by both the Professor and student throughout the semester. Have an appointment with
Accommodation the Professor for his/ her consultation time.
Gender and All oral and written communication outputs/ class interactions are required to observe the use of gender sensitive
Development language. The course prohibits discrimination and harassment based upon race, ethnicity, sex (including sexual
Related assault), pregnancy, color, religion, national origin, physical or mental disability, age, marital status, sexual orientation,
Accommodation gender identity, and genetic information. Any student who has concerns about such behavior should the Professor.
Religious In the academic work in the class, everybody is required to avoid conflicts with student’s religious practices and/ or
Accommodation observances. For an exemption, the student may request reasonable accommodations. This request must be in writing,
and the Professor will review the request and this may even seek for assistance from the Dean.
Academic
Mentoring, Coaching
and
Consultation
Name/s)

Effective
Approved:________________

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QuAmC Form 26.

NOrSU COBE-CQA Syllabus

BELLADONA A. CORTEZ, D.Ed.

At the end of the courses the students should be able to:

Program Standards/ BGI

B. COURSE CONTENT AND STRUCTURE (CCS/ C ontent)

1 NOrSU Pre-liminaries A-Respond by providing an Group Powerpoint of

BELLADONA A. CORTEZ, D.Ed.

cascaded to of the above concepts for the Group written

2-3 Course orientation To determine student& Group Gardner’s Art Essay:

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

creativity Creative Play with the

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

Film universal? Alampat: An Why does art

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

6-7 Subject type L(K) Differentiate Lecture Alampat An Gallery visit

BELLADONA A. CORTEZ, D.Ed.

other works of art) sources and and the

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

buyers, collectors, art visual, auditory, and combined Topics to be Francisco

BELLADONA A. CORTEZ, D.Ed.

GAMABA uploading, the

BELLADONA A. CORTEZ, D.Ed.

art? 2004. pp 53115

BELLADONA A. CORTEZ, D.Ed.

10-13 History of Arts (K) Lecture Art through the Designed

BELLADONA A. CORTEZ, D.Ed.

prevalent artist, art forms and Ducumentary 1980), pp. topics

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

Beethoven, Franz Appreciation, painting etc..)

BELLADONA A. CORTEZ, D.Ed.

Crafting images Discuss the concept of Narciso, 2016 reflective

BELLADONA A. CORTEZ, D.Ed.

works as a form of service 2012, pp. 3-17 or immersion

17-18 Visual elements in (K) Lecture Sourcebook of Quiz

BELLADONA A. CORTEZ, D.Ed.

art 1982, pp. 18-34

(V) Ukkil: Visual

C . REQUIRED READING MATER IALS AND REFERENCES

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

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

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

Grading System Attendance/ Class Participation 10%

E . C L A S S P O L I C I E S (Specific to the Course)

BELLADONA A. CORTEZ, D.Ed.

BELLADONA A. CORTEZ, D.Ed.

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