APPRECIATION

ART
ENGLISH DEPARTMENT
COLLEGE OF SOCIAL SCIENCES AND HUMANITIES
MINDANAO STATE UNIVERSITY - GENERAL SANTOS CITY

PABLO B. FLAMIANO
JEFFREY E. FLORIZA
GEORGE S. GUNAY
NORMAN RALPH B. ISLA
FERNAN B. LEHAO
JOHN JAY L. MORIDO
IRENEO S. PELAYO
INTRODUCTION

“ART is not what you see, but what you make others see.”

This line is from the French artist Edgar Degas who expressed his art not for himself but for others
to appreciate. Most of the artists and cultures we know are serious and passionate in their artistic
pursuits and chosen creative outpourings.

The common people would often ask why we study art and what is its importance for the
the simple minded. One does not need to be a great critic or a master artist so he or she can
understand and appreciate art. She can start learn the basics and the qualities of the art pieces
then try to criticize those with justifiable standards.

To help our students acquire the talent of appreciating art, the English Department of MSU –
General Santos City provides this set of modules to aid art education during this challenging times.
We are committed to deliver best outputs especially that we want to instill that being creative is a
trait of a successful individual.

In this set of modules for GEC 106 – Art Appreciation, the students will learn the importance of art
and the various elements, subject, content, source, qualities and values of different artistic forms.
Also, topics on art criticism and on heritage are added to create a full circle of learning the arts.
The e-modules are designed for the students’ easy access and understanding of the concepts as
well as learning the ways of interpreting art and preserving the culture.

Appreciating art is not an exclusive talent but more of a participative, open pursuit to look for
what is beautiful in the eyes and in the hearts. Arts reflect the ideals, the realities and the tangible
expressions of an artist, of a culture, of a nation. Ergo, if one appreciates something beautiful,
she just perceived it, but if she values it, she proves the truth that art, along with its story and
aesthetics, lives on forever.

NORMAN RALPH ISLA

Chairperson
English Department
CSSH, MSU General Santos

GEC 106 - Art Appreciation | 2

TABLE OF CONTENTS

Introduction 2

SET II

Module 5 Seven Da Vincian Principles of Art 5

Module 6A Interpreting Art: Four Coordinates of Art Criticism 9

Module 6B Interpreting Art: Application of Critical Theories 17

Module 7. On Heritage: T’boli Folk Literature 25

GEC 106 - Art Appreciation | 3

CONTENT CREATORS

Module 1. Norman Ralph B. Isla Art Appreciation, Humanities and Aesthetics

Module 2. Jeffrey E. Floriza Elements of Art: Visual, Auditory and Performing Arts
Module 3. George S. Gunay Subject, Source and Content of Art
Module 4. Pablo B. Flamiano Values and Qualities of Art
Module 5. Fernan B. Lehao Seven Da Vincian Principles of Art
Module 6A. Norman Ralph B. Isla Interpreting Art: Four Coordinates of Art Criticism
Module 6B. John Jay L. Morido Interpreting Art: Application of Critical Theories
Module 7. Ireneo S. Pelayo On Heritage: T’boli Folk Literature

GEC 106 - Art Appreciation | 4

 Learning Outcomes:
MODULE 5
At the end of this module the students SEVEN DA VINCIAN PRINCIPLES OF ART
are expected to:

https://www.onthisday.com/people/leonardo-da-vinci
1.Define and distinguish the different
principles of art by Leonardo Da Vinci

2. Reflect on at least one principle of art

by Leonardo Da Vinci.

Time frame: 6 hours

Activity:

Watch the following video from youtube.

com and list at least of the works of
Leonardo Da Vinci that you are most
fascinated with.

(https://www.youtube.com/
watch?v=TCITW0wPZHo)

Analysis:

1.What are the principles of art by

Leonardo Da Vinci?

2.What can we reflect from each of the

seven principles of art by Leonardo Da
Vinci?

Abstraction:

The Seven Principles of Art by Leonardo

Da Vinci

Leonardo Da Vinci is a Renaissance polymath, painter, sculptor, architect,

musician, engineer and inventor, Da Vinci is chiefly remembered as one of the
greatest painters of all time.

His inventions and designs included flying machines, a tank, concentrated

solar power, an adding machine, the double hull and a theory of plate
tectonics.

“There had never been another

man born in the world who knew

as much as Leonardo,

not so much about painting,

sculpture and architecture,

as that he was a very

http://braindancingsmorgasbord.blogspot.com/2009/04/seven-da-vincian-principles-to.html great philosopher.”

-King Francis I, 1539

GEC 106 - Art Appreciation | 5

1.CURIOSITÀ We see the world through the filter of our senses. However, the
conscious development of our senses will sharpen our powers of
is an insatiably curious approach to life and an insight. By extension, this leads to the development of foresight. In
unrelenting quest forcontinuous learning. today’s climate of competitive intelligence, we need insight about the
present and foresight about the future.
“The desire to know is natural to good men.”
- Leonardo Da Vinci
Self- Reflection: What is my plan for sharpening my senses as I age?
We must be insatiably curious about life and
exude an unrelenting quest towards continuous
learning. 4.SFUMATO
Curiosity equates directly with creativity, as well A willingness to embrace ambiguity, paradox, and uncertainty.
as with the qualities of present-day leadership. “I wish to work miracles.”
These are invaluable traits in a world that has
-Leonardo Da Vinci
recognized the value of ‘learning how to learn’.
We need to cultivate hungry, urgent minds,
inspired by a questioning consciousness. Literally meaning ‘going up in smoke’, this quality calls upon us to
willingly embrace ambiguity, paradox, and uncertainty.
Self-Reflection: Am I asking the right questions?

2.DIMOSTRAZIONE Never before has this been more relevant that the present age
where quantum mechanics, and the science of chaos and complexity,
is a commitment to test knowledge through constantly shatter the onion-skin like straitjackets that have imprisoned
experience, persistence, and a willingness to us. They define and determine our realities like never before, revealing
learn from mistakes. order in chaos, chaos in order.
“Experience is the heart of wisdom.”
-Leonardo Da Vinci Self-Reflection: How can I strengthen my ability to hold
creative tension, to embrace the major paradoxes of life?

We need to demonstrate a persistent

commitment to knowledge. This quality must 5.ARTE/SCIENZA
be tested through experience via an absolute
The development of the balance between science and art, logic and
willingness to learn from mistakes.
imagination.
“Study the science of art and the art of science.”
We can no longer be armchair intellectuals; we
must act on our ideas. Mistakes are not failures. -Leonardo Da Vinci
Our ‘mistakes’ breed successes.

We must develop and cultivate a sense of balance between our powers

Self-Reflection: How can I develop my of logic and imagination.
independence of thought?
How can I improve my ability to learn The human brain has ‘left’ and ‘right’ mode attributes. We must strive
from my mistakes and experiences? to integrate them in our daily activities in order to enhance ourselves in
any discipline. Logic alone is a liability, and imagination without logic is
3.SENSAZIONE too ephemeral. Thus, we should constantly study the art of science and
the science of art.
The continual refinement of the senses,
especially sight, as the means to clarify
experience. Sef-Reflection: Am I balancing Arte and Scienza at home, at
school, and at work.
“All our knowledge has its origin in our
perception.”
-Leonardo Da Vinci
6.CORPORALITA
The cultivation of grace, ambidexterity, fitness, and poise.
Enlivened through experience, we must nurture “Just as iron rusts from disuse, and stagnant water putrefies, or when
a continual refinement of our senses, especially cold turns to ice, so our intellect wastes unless it is kept in use.”
our sense of vision. -Leonardo da Vinci

GEC 106 - Art Appreciation | 6

We should strive to cultivate fitness, grace, ambidexterity, and poise in all our endeavors.
The brain is connected to the body. it is not a solitary organ within the skull. There must be a coordination’s of mind, body
and spirit in all that we are and in whatever we do. This enables us to transcend ourselves from a just a ‘body’ into a ‘being’.

Self-Reflection: How can I nurture the balance of body and mind?

7.CONNESSIONE
A recognition and appreciation for the connectedness of all things and phenomena.
“The greatest geniuses sometimes accomplish more when they work less.”
-Leonardo da Vinci

We must recognize that there exists an interconnectedness in all things, in all phenomena.

Everything connects to everything else. The person that can see connections between seemingly random and disparate
items or events, is able to appreciate the gestalt of possibilities- formidable qualities in the domains of creativity, leadership
and communication skills.

Self-Reflection: How do all the above elements fit together?

How does everything connect to everything else?

ASSESSMENT
1.Leonardo Da Vinci suggests that in achieving the principles discussed here, “a man can become a genius”. Do you agree?
Defend your answer.
2.After you learned the seven Da Vincian principles, do you agree that art and science can go together?

APPLICATION
1.Think of one specific goal you have accomplished in life and relate it to a film, a play or a song that you liked. Connect and
describe the struggle you have faced in achieving that goal.

GEC 106 - Art Appreciation | 7

REFERENCES
Centre des Monuments Nationaux. (2018). Biography of Francis I. Retrieved last Novermber 22, 2020 from http://www.azay-
le-rideau.fr/en/Explore/BIOGRAPHY- OF-FRANCIS-I.

Facts Net. (2020). Facts about Leonardo da Vinci, The Renaissance Man. Available at https://www.youtube.com
watch?v=TCITW0wPZHo.

Leonardo da Vinci Biography. (n.d.). Leonardo da Vinci: The Complete Works. Retrieved last November 22, 2020 from https://
www.leonardoda-vinci.org/biography.html.

Mukerjea D. (2009). The Seven da Vincian Principles to Stimulate your Creative Genius. Retrieved last November 22, 2020
from http://braindancingsmorgasbord.blogspot.com/2009/04/seven-da-vincian- principles-to.html.

On This Day. (n.d.). Leonardo da Vinci. Retrieved last November 22, 2020 from https://www.onthisday.com/people/leonardo-
da-vinci.

Prepared by Approved by

Fernan B. Lehao Norman Ralph Isla

Faculty Chairperson
English Department | CSSH English Department

GEC 106 - Art Appreciation | 8

 MODULE 6A
Learning Outcomes:

1.Understand the meaning and purpose INTERPRETING ART: THE FOUR

of art criticism
COORDINATES OF ART CRITICISM
2.Identify and discuss the four
coordinates of the art criticism and the
corresponding approaches

3. Apply the basic steps in critiquing art

Time frame: 6 hours

Activity:

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decides what art means?” by Hayley Levitt

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and cultures, it becomes a challenge to

interpret and critique one. “Art needs something outside of itself as a place of reflection,
discernment, and connection with the larger world. Art for art’s sake
According to Britannica, art criticism is
is fine, if you can get it. But then the connection to the real becomes
the analysis and evaluation of works of
tenuous, and the connection to the social disappears. If you want to
art. More subtly, art criticism is often tied
engage, if you want to discourse, you need criticism.” – David Levi-Strauss
to theory; it is interpretive, involving the
effort to understand a particular work of Arts tell stories, share meanings and open discussions. Arts are measured
art from a theoretical perspective and to by criticism. This module is written to provoke your minds so that you
establish its significance in the history of will have perspective in interpreting arts. In this lesson, the students
art. will understand the purpose of art criticism and apply those steps into
practice.

A.THE FOUR COORDINATES OF ART CRITICISM AND

THE APPROACHES
Palencia et al (2017) offered that before criticizing an art, one should be
knowledgeable first of its coordinates. Every work of art, such as a poem,

GEC 106 - Art Appreciation | 9

 a drama, a musical piece, painting and sculpture, etc., has four basic
ABSTRACTION coordinates:
CONTINUATION:
a. the subject matter

b. the artist
In addition, here are some points about
art criticism: c. the audience
• Art criticism is responding to, d. the form
interpreting meaning, and
making critical judgments about From these four coordinates of art are the bases for the four principal
specific works of art. approaches to art appreciation and art criticism. These four approaches
• Art critics help viewers perceive, are shown in the table:
interpret, and judge artworks.
• Critics tend to focus more on Mimetic Approach Expressive Approach
modern and contemporary art
from cultures close to their own. (based on the subject matter) (based on the artist)
• Art historians tend to study
works made in cultures that are
more distant in time and space. Pragmatic Approach Aesthetic/Formalist Approach
When initially introduced to art criticism,
many people associate negative (based on the audience) (based on the form)
connotations with the word “criticism.” In
the realm of arts, criticism is the true test
if a particular artwork is set to exist and 1.SUBJECT MATTER AND THE MIMETIC APPROACH
be celebrated as one of the greatest or
just good or the ugliest or worst. We have discussed in the previous lesson the subjects of art and that
the subject matter can be representational or non-presentational. With
Before we proceed with knowing the respect to subject matter, art is an imitation, depiction or representation
steps of art criticism, it is logical to start of some aspect of nature or life.

The concept of art as imitation maybe traced back to Greek philosophers,

Plato and idealism, and Aristotle and empiricism. In idealism, art is far
removed from the reality which exists in the realm of ideals or universals.
Plato places art on the same level as shadows and reflections of things
on water – all these being mere illusions of reality. On the other hand, in
empiricism, Aristotle rejected the belief of the perfect. He posited that
reality exists right in our own world, around us and within us as perceived
by our senses. Art becomes “a mirror of reality.”

The approach to art criticism through subject matter is called mimetic

(derived from the Greek ‘mimesis,’ meaning imitation). The mimetic
approach stresses the importance of subject matter or content in the
art. Here, the merit of a work of art lies in its subject; the beauty of
the subject and its significance are the bases for aesthetic judgment.
This approach has been discredited by modern critics who assert that
the aesthetic quality of a work of art depends not so much on what is
depicted (the subject) as on how it is depicted (the form). Moreover, what
we should appreciate is not the but the manner of presentation of the
subject (Palencia et al, 2017).

2.ARTIST (WRITER/CREATOR) AND THE EXPRESSIVE

APPROACH
The broadness of the term ‘artist’ embraces all creators and producers of
art; they are the writers in fiction and essays, poets in poetry, dramatists,
actors, composers, singers, painters, sculptors, dancer, choreographers,
architects, photographers, chefs and designers.

From the point of view of the artist, art is a means of expression, a

medium for communicating an idea, an emotion or some other human

GEC 106 - Art Appreciation | 10

experience, an impression of life, a vision of beauty. importance of art and its audience. This attach little importance
And because the artist puts something of himself to the aesthetic value and instead judge art according to how
into his art, it becomes an extension of himself – an useful it is to the audience. For instance, they are partial to
objectification of some aspect of his personality. artworks that have moral value – that aim to teach, to instruct,
Our experience of a work of art, therefore, brings to ennoble or to mold the moral character of the audience
us in contact with the personality of the artist/s. The or else they have preference for those objects of art that are
individuality of the creator is revealed to us through useful or have practical value. For Marxist-Leninist-Maoist
his creation. However, the degrees to which the artist critics, the role of art in a socialist order is to contribute to the
has revealed himself varies from one form of art to fulfillment of the objectives of the state, to serve as a vehicle
another, from one particular work of art to another. for propaganda in the people’s struggle against imperialism, etc.
Again, modern critics reject the pragmatic approach because
The expressive approach they consider all the values
of art criticism stresses of art, aside from the
the relationship of the aesthetic value, as merely
artwork to its creator. In secondary, therefore
this approach, the artist incidental, non-essential
himself becomes the (Palencia et al, 2017).
major element generating
both the artistic product
and the norms by which 4.FORM AND THE
the work is to be judged. FORMALIST/AESTHETIC
Interpreting art in the APPROACH
light of the knowledge
that we have about the With respect to form, the
artist has some degree of art is a composition, a
validity including the facts whole consisting of various
about the artist, his life parts or elements; the
and history, his philosophy selection, organization,
and beliefs, his character, and integration of these
certain circumstances in elements according to
his life which may have certain formal principles
influenced the creation of and employing certain
the artwork in question, techniques constitute that
his background, the era which we call the form of
during which he lived, art.
and other pertinent
information places us For example, in poetry,
in a better position to the organization of such
interpret and evaluate his expressive elements as
work. Moreover, in passing persona, imagery, figures
judgment on the aesthetic of speech, tone, rhythm,
merit of an artwork, we symbolisms, rhyme,
can consider the life of meter and theme, using
the creator but not fully language as a medium,
the basis of its beauty and creates poetic form. In
significance (Palencia et al, music, the integration of
2017). such expressive elements
as beat, harmony, melody,
tempo, dynamics, and
3.AUDIENCE/READERS
https://publicdelivery.org/fernando-botero-mona-lisa/
timbre, using tone as
AND THE PRAGMATIC medium and following the basic principles of organization
APPROACH – repetition, variation, and contrast – results in the creation
of musical composition (form). In filmmaking, in achieving its
One aspect of art, which is of importance to the objective to tell a story, employs and combines many elements:
audience, is its value, function or significance. Aside screenplay, acting, direction, cinematography, editing, set
from its aesthetic value, art can have other values: design, music, costumes, make-up, casting, etc. to create a film.
religious, philosophical, moral, historical, political,
social, scientific, commercial, sentimental, practical, Modern critics and art teachers are advocating the formalist
etc. and aesthetic approach to art criticism, stress the importance
of form in a work of art. They uphold the motto, “Art for art’s
Pragmatic approach emphasizes the value and sake,” coined by English playwright, Oscar Wilde. This view seeks

GEC 106 - Art Appreciation | 11

to liberate art from the chains of morality, religion, political propaganda and social reform, and sets up art as something
worthy of appreciation for its own sake. The formal approach considers the form as the basis of aesthetic judgment and other
considerations are secondary. Analyzing and interpreting art is an intellectual undertaking that employs a systematic method
to arrive at an aesthetic judgment (Palencia et al, 2017).

B.HOW TO CRITIQUE ARTWORKS

We have learned in the first part the four coordinates of art and the four respective principal approaches of art criticism. We
can appreciate a work of art only when we grasp or comprehend what it is the artist is trying to say (subject and theme) and
realize how well, how effectively, how beautifully he presents it (form).

Now, we will discuss how to write an art critique. It is safe to define that ‘art critique’ is an evaluation of a work of art. While it
is true that artistic taste is relative, there are certain characteristics of artwork that can be assessed as a means of measuring
the artist’s success at conveying the intended message or meaning of the work in question. Art criticism is considered by
some to be an art within itself, but, although each art critique may approach an artwork uniquely, there is a defined protocol
for the discipline of critiquing a work of art.

As students, we do not need to be a professional art critic or museum curator to pull this art critiquing job. Besides from
using art vocabulary (jargons) in your art critique, all you have to do is to follow these steps we call “DAIJ paradigm”:

STEP 1. DESCRIPTION (DESCRIBE WHAT YOU SEE/EXPERIENCE)

This is the objective portion of the art critique. It involves a technical description, basic form and elements of the art; this
includes:

a.Artist’s name

b.Title of the artwork

c.Type of the artwork

d.Subject (central figure and other objects you see)

e.Elements (review the elements of art because this depends on the form)

f.First impression (outstanding and/or disagreeable qualities of the art)

STEP 2. ANALYSIS (ANALYZE THE ARTWORK)

This is the in-depth examination of how the technical elements were utilized by the artist to create the overall impression
conveyed the artwork.

a.Qualify and study carefully the quality of the elements in the art

b.Assess how each basic element contribute to the mood, meaning and overall beauty of the artwork

STEP 3. INTERPRETATION (INTERPRET THE MEANING OF THE ART)

This is a more subjective part of the critique. It is expected that to use technical aspects of the art in applying supposition to
the artist’s intended purpose for the artwork. Try to accomplish the following things when formulating your interpretation:

a.Communicate the artist’s statement. Describe what you think the artist is trying to say through the work of art (or the
meaning and/or your interpretation)

b.Expound on the mood or the feeling that is conveyed by the artwork. Describe what the artwork means to you and why.

c.Explain what you feel is the artist’s intended purpose for creating that particular work of art.

d.Examine why the artist made the choices in technique, materials, and subject matter and how they relate to the intended
purpose.

e.Identify the symbols in the artwork and describe how they relate to the artist’s execution and the artwork itself

GEC 106 - Art Appreciation | 12

STEP 4. JUDGMENT (EVALUATE THE ARTWORK)
This is the summation of the art criticism process. After your analysis and interpretation, this is the part where the critic
needs to draw conclusions and decide for the quality/value of that artwork.

a.Review your analysis and interpretation.

b.State what is the value of the artwork.

c.Describe the artwork’s relevance to the art community and to the humanity

d.Explain where you feel the artwork has a strong value and where you think it falls short.

ASSESSMENT
A.True or False. Determine whether the statement is true or false. Write TRUE if it is True and FALSE if it is False. Support your
answer by explaining your points in 2 sentences only (2 pts each).

_________1. The mimetic approach criticizes works as the reflection of an author’s life and times.

_________2. The formalist approach believes that all information essential to the interpretation of a work must be found
within the work itself.

_________3. The idea of individualism is crucial to the understanding of the expressive approach.

_________4. There is no subjectivity in formalist approach.

_________5. The pragmatic approach believes that the very purpose of art like in literature is to teach morality and probe
philosophical issues.

B. Essay: Write a 5-sentence essay that answers the question: “Who decides what art means?” (10 pts)

APPLICATION
Your teacher will give you instructions on what art he wants you to interpret in the class:

Task 1. Guided Art Critique Chart on Visual Arts (see Template 1)

Task 2. Guided Art Critique in General (See Template 2)

Task 3. Art Critique Paper

GEC 106 - Art Appreciation | 13

GEC 106 - Art Appreciation | 14
GEC 106 - Art Appreciation | 15
REFERENCES:
Ballo, G. (1969). The critical eye: a new approach to art appreciation. New York: Putnam

Caroll, N. (2000). Theories of art today. Madison, Wisconsin: University of Wisconsin Press

Palencia, M., Cruz, J., Solmerano, E.T., Ondevilla, M. K. and Jerusalem, V. (2017). Contemporary Philippine Arts from the Regions.
Manila: Fastbooks

Prepared by Approved by

Norman Ralph Isla Norman Ralph Isla

Faculty Chairperson
English Department | CSSH English Department

GEC 106 - Art Appreciation | 16

 Learning Outcomes:
MODULE 6B
1.Discuss and deepen the understanding ART CRITICISM AND APPLICATION OF
in critical theories which can be applicable
to art appreciation CRITICAL THEORIES
2.Apply the critical theories in
interpreting the work of arts CRITICAL THEORIES USED IN ART CRITICISM
3.Appreciate and value the socio-political
and dialogical meanings of arts FRANKFURT SCHOOL: CHALLENGING IDEOLOGIES
Time Frame: 3 hours The Frankfurt School is the name given to a group of German intellectuals
associated with the Institute for Social Research at the University of
Activity:
Frankfurt. The Institute was established in 1923. Following the coming
When we look into something, our eyes to power of Hitler in 1933, it moved to New York, attaching itself to the
select what it wants to see. In this picture, University of Columbia. In 1949 it moved back to Germany. ‘Critical Theory’ is
the name given to the Institute’s critical mix of Marxism and psychoanalysis.
The Institute’s work on popular culture is mostly associated with the writings
of Theodor Adorno, Walter Benjamin, Max Horkheimer, Leo Lowenthal and
Herbert Marcuse (Storey, 2009).

The academic influence of the critical method is far reaching. Some of the
key issues and philosophical preoccupations of the School involve the critique
of modernity and capitalist society, the definition of social emancipation, as
well as the detection of the pathologies of society. Critical Theory provides
a specific interpretation of Marxist philosophy with regards to some of its
central economic and political notions like commodification, reification,
fetishization and critique of mass culture (Corradetti, 2020).

One good example of challenging ideologies is of Coco Chanel’s

breakthrough in fashion industry. During her time, the society put women
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what particular thing do you see first? And

why do you think you decide so?

Analysis:

• Why humans should have a

perspective?
• Why there is a need to study
critical theories in appreciating
works of art?
• Does art need to be analyzed by
using a particular lens/approach?

Abstraction:

Have you realized that having the

knowledge in analyzing a work of art by
using a specific approach is important?
As you deeply appreciate arts by using https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttps%2Fwww.goalcast.com%2F2017%2F08%2F22%2Fcoco-chanel-quotes-irresistibly-bold%2F&psig=AOvVaw37MEU
various lenses, you will not only see the klV3Ob8SdqEJVRz2B&ust=1606219589761000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCNCx6bXQmO0CFQAAAAAdAAAAABAE

aesthetic value of it, rather you will know

its historical, social and political contexts in a box of being proper and should wear skirts. This is not until Coco
and its wonderful process of making contended the men in a fair by dressing “like a man” rather calling herself “a
because, after all, art is not just an art, but woman in pants.” From that on, she was able to establish her name as an icon
it speaks about the past and the future, known for her simple yet sophisticated outfits. If we will analyze the fashion,
the status quo when we find relevance. it seems that there is no ideology on it but on a closer look, the struggle and
resistance against the politics and the harsh social problems are in the details
and hemlines.

GEC 106 - Art Appreciation | 17

 ABSTRACTION CONTINUATION: MARXISM: INQUIRY TO THE CLASH OF SOCIAL CLASS
We have learned from the previous Marxism is a difficult and contentious body of work. But it is also more
modules what Art Criticism is and the steps than this: it is a body of revolutionary theory with the purpose of changing
on how to interpret art. Among the array the world. As Marx (1976b) famously said: ‘The philosophers have only
of artistic trends and tenets of criticism, interpreted the world, in various ways; the point is to change it’ (Storey,
we will focus only on the seven (7) isms in 2009).
analyzing arts spanning across the various
disciplines: from visual arts, auditory arts The Marxist approach to culture insists that texts and practices must
and performing arts and even applied and be analyzed in relation to their historical conditions of production (and
allied arts. this matter, the depth, scope in some versions, the changing conditions of their consumption and
and diversity of your discourse reflect a reception). What makes the Marxist methodology different from other
character that is evidently scholarly. ‘historical’ approaches to culture is the Marxist conception of history
(Storey, 2009).

Marx argues that each significant period in history is constructed around

a particular ‘mode of production’: that is, the way in which a society
is organized (i.e. slave, feudal, capitalist) to produce the necessaries
of life – food, shelter, etc. In general terms, each mode of production
produces: (i) specific ways of obtaining the necessaries of life; (ii) specific
social relationships between workers and those who control the mode of
production, and (iii) specific social institutions (including cultural ones).
At the heart of this analysis is the claim that how a society produces
its means of existence (its particular ‘mode of production’) ultimately
determines the political, social and cultural shape of that society and its
possible future development. As Marx explains, ‘The mode of production
of material life conditions the social, political and intellectual life process in
general’. This claim is based on certain assumptions about the relationship
between ‘base’ and ‘superstructure’. It is on this relationship – between
‘base’ and ‘superstructure’ – that the Marxist account of culture rests
(Storey, 2009).

The ‘base’ consists of a combination of the

‘forces of production’ and the ‘relations
of production’. The forces of production
refer to the raw materials, the tools, the
technology, the workers and their skills, etc.
The relations of production refer to the class
relations of those engaged in production. The
‘superstructure’ (which develops in conjunction
with a specific mode of production) consists
of institutions (political, legal, educational,
cultural, etc.), and ‘definite forms of
social consciousness’ (political, religious,
ethical, philosophical, aesthetic, cultural,
etc.) generated by these institutions. The
relationship between base and superstructure
is twofold (Storey, 2009).

For example, Sugar cane (painting) by Jose

Diego Maria Rivera where it portrays the class
struggle among the people of Mexico.

DECONSTRUCTION: REVERSING SIDES

Deconstruction involves close reading/
examining the text or the work of art in
order to demonstrate that any given art has
irreconcilably contradictory meaning, rather
than being a unified, logical whole. It was both
created and has been profoundly influenced
https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttps%2Fwww.khanacademy.org%2Fhumanities%2Fart-1010%2Flatin-america-modernism%2Fmexican%2Fv%2Frivera-sugar- by the French philosopher Jacques Derrida.
cane&psig=AOvVaw0zErg45W79cGf-IO0cSiLH&ust=1606270532288000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCPjblZyOmu0CFQAAAAAdAAAAABAD

GEC 106 - Art Appreciation | 18

 Derrida, who coined the term deconstruction, a public voice, women who are speaking and writing for the first time,
argues that in Western culture, people tend including many women of color. Feminist focus on finding a voice may
to think and express their thoughts in terms sound clichéd at times. However, for women within oppressed groups,
of binary oppositions (white/black, masculine/ coming to voice is an act of resistance. Speaking becomes both a way
feminine, cause//effect, conscious/unconscious to engage in active self-transformation and a rite of passage where
and etc.) Derrida suggests these oppositions are one moves from being object to being subject. Only as subjects can we
hierarchies in miniature, containing one term speak (Storey, 2009).
that Western culture views as positive or superior
and other considered negative or inferior, even if Moreover, Feminism under Sociological approach is concerned to the
only slightly so. Through deconstruction, Derrida marginalization of all women; it focuses on the relegation of women
aims to erase the boundary between binary in a patriarchal society. Feminism as an approach examines the social,
oppositions – and to do so in such a way that the cultural, political and psychosexual aspect of a particular work of art
hierarchy implied by the oppositions is thrown such as literary text, painting, dance and etc.
into question (Mambrol, 2015).
For example, Beyonce Knowles in music industry where she made her
To explain further, like in the Frozen (2013 film), image as a strong independent woman presenting in her songs like
“Run the World

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7I&ust=1606271128457000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCODi37WQmu0CFQAAAAAdAAAAABAD &cd=vfe&ved=0CA0QjhxqFwoTCNCzkJzLmO0CFQAAAAAdAAAAABAD

Elsa became the protagonist despite its character (Girls)”, that women are capable of ruling the world like what men do.
basis from the Danish fairytale, “The Snow
Queen”. Based on the original story, the queen is
the evil making every people in their place suffer.
QUEER THEORY: LOCATING THE LIMITATIONS OF GENDER
Queer theory, as Paul Burston and Colin Richardson (1995) explain,
‘provides a discipline for exploring the relationships between lesbians,
FEMINISM: CHALLENGING VIEWS ON
gay men and the culture which surrounds and (for the large part)
GENDER continues to seek to exclude us’ (1). Moreover, ‘by shifting the focus
Feminism, like Marxism, is always more than a away from the question of what it means to be lesbian or gay within
body of academic texts and practices. It is also, the culture, and onto the various performances of heterosexuality
and perhaps more fundamentally so, a political created by the culture, Queer Theory seeks to locate Queerness in
movement concerned with women’s oppression places that had previously been thought of as strictly for the straights’
and the ways and means to empower women (ibid.). In this way, they contend, ‘Queer Theory is no more “about”
– what the African-American critic bell hooks lesbians and gay men than women’s studies is “about” women.
(Gloria Jean Watkins) (1989) described as ‘finding Indeed, part of the project of Queer is to attack the very “naturalness”
a voice’. As a metaphor for self-transformation, of gender and, by extension, the fictions supporting compulsory
‘finding a voice’ has been especially relevant for heterosexuality’ (Storey, 2009).
groups of women who have previously never had

GEC 106 - Art Appreciation | 19

To discuss the supposed naturalness of gender and the ideological Some of the basic tenets of CRT rest on the
fictions supporting compulsory heterosexuality, there is no better belief that racism is fundamental part of
place to begin than with one of the founding texts of queer theory, American society, not simply an aberration that
Judith Butler’s (1999) very influential book Gender Trouble. Butler can be easily corrected by law; that any given
begins from Simone de Beauvoir’s (1984) observation that ‘one is not culture constructs its own social reality in its
born a woman, but, rather, becomes one’ (12). De Beauvoir’s distinction own self-interest, and in the United States this
establishes an analytical difference between biological sex (‘nature’) means that minorities’ interests are subservient
and gender (‘culture’), suggesting that while biological sex is stable, to the system’s self-interest; and that the current
there will always be different and competing (historically and socially system, built by and for white elites, will tolerate
variable) ‘versions’ of femininity and masculinity (see Figure 7.1). and encourage racial progress for minorities
Although de Beauvoir’s argument has the advantage of seeing gender only if this promotes the majority’s self-interest
as something made in culture – ‘the cultural meanings that the sexed (Demaske, 2009).
body assumes’ (Butler, 1999) – and not something fixed by nature, the
problem with this model of sex/gender, according to Butler, is that it To elaborate, The Color Purple, a play written by
works with the assumption that there are only two biological sexes

https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttps%2Fissuu.com%2Fmilwaukeerep%2Fdocs%2Fcp_playguide_
(‘male’ and ‘female’), which are determined by nature, and which in

turn generate and guarantee the binary gender system. (Storey, 2009).

For instance, the novel, Simon vs. The Homo Sapiens Agenda written
by Becki Albertalli where
the main character, Simon
is blackmailed to reveal
his true gender identity.
In Queer Theory, being
part of the LGBTQI+ is
only one of the many
sides, rather it tries to
question the breadth
of acceptance and how
do humans treat others
who belong in a colorful
spectrum. Marsha Norman based from Alice Walker’s novel
of the same title, the main character, Georgia,
lives in a cyclical world of pain and violence from
CRITICAL the people around her. As a black woman which
RACE THEORY: is the contention of the Critical Race Theory, the
EXAMINATION OF color of the skin should not decide or determine
THE RACE AND the kind of life one person will live in, rather it
COLOR should show her uniqueness and beauty that
deserves equality and fair treatment.
https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttps%2Fshopee.ph%2FBecky-Albertalli-Simon-Vs-The-
Critical Race Theory
Homo-Sapiens-Agenda-i.18243942.5335297956&psig=AOvVaw1wH8oIobhjltHF2SanaBL6&ust=1606271
750166000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCKiUjt6Smu0CFQAAAAAdAAAAABAD
(CRT) is a movement that POSTCOLONIALISM: THE ART AFTER
challenges the ability of conventional legal strategies to deliver social COLONIAL POWER
and economic justice and specifically calls for legal approaches that
take into consideration race as a nexus of American life. The movement The semantic basis of the term ‘postcolonial’
champions many of the same concerns as the civil rights movement might seem to suggest a concern only with
but places those concerns within a broader economic and historical the national culture after the departure of
context. It often elevates the equality principles of the Fourteenth the imperial power. It has occasionally been
Amendment above the liberty principles of the First Amendment employed in some earlier work in the area to
(Demaske, 2009). distinguish between the periods before and
after independence (‘colonial period’ and ‘post-
CRT has its underpinnings in the philosophical writings of Derrick Bell colonial period’), for example, in constructing
in the 1970s and early 1980s. It was born out of the realization by legal national literary histories, or in suggesting
scholars, lawyers, and activists that many of the advances of the civil comparative studies between stages in those
rights era had stopped and in some circumstances were being reversed histories. Generally speaking, though, the term
(Demaske, 2009). ‘colonial’ has been used for the period before
independence and a term indicating a national

GEC 106 - Art Appreciation | 20

writing, such as ‘modern Canadian writing’ or ‘recent West Indian literature’ has been employed to distinguish the period
after independence (Storey, 2009).

We use the term ‘post-colonial’, however, to cover all the culture affected by the imperial process from the moment of
colonization to the present day. This is because there is a continuity of preoccupations throughout the historical process
initiated by European imperial aggression. We also suggest that it is most appropriate as the term for the new cross-
cultural criticism which has emerged in recent years and for the discourse through which this is constituted (Storey, 2009).

Moreover, postcolonialism utilize social, cultural, and political analysis to engage with the colonial discourse. It has been
defined as both a social movement and a research approach whose main agenda addresses racism and oppression… It is
through the shared experience of colonialism that postcolonial scholars, writers or artists are articulating/creating how
colonialism has worked “through” and “upon” individuals, societies, and material culture (Bauchspies, 2007).

To deepen, influences of European architecture in Southeast Asia, specifically in the Northern region of the Philippines
where the houses are commonly designed based on the Spanish aesthetics. In architecture, if one would observe colonial
empires used their influences even to the point of instilling the art into the vast landscapes of their colonies’ style of
building buildings.

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u0CFQAAAAAdAAAAABAE

GEC 106 - Art Appreciation | 21

ASSESSMENT
Direction: Identify what particular theory the following figures represent.

Webpage.pace.edu CNN.
www.cartoonstock.com/cartoonview.asp

Shutterstock.com

multivu.com
scholarblogs.emori.edu

anothermag.com
ephotozine.com englishbiz.co.uk

GEC 106 - Art Appreciation | 22

APPLICATION
Choose one among the following:

A.Watch the film “Maleficent” (2014). What did the author highlight in the film: Feminism, Marxism or Deconstruction?
Support your answer.

maleficent.fandom.com

B. Listen to the song “Take Me to Church” by Hozier. What did the singer/songwriter highlight in the song: Frankfurt School
or Queer Theory? Support your answer.

wikipedia.org

C. See the painting below entitled “Lili Bernard”. What did the painter highlight in his work: Critical Race Theory,
Postcolonialism, or Marxism? Support your answer.

saatchiart.com

GEC 106 - Art Appreciation | 23

REFERENCES
Barrett, T. (1994) Criticizing Art: Understanding the Contemporary. Mountain View, California: Mayfield Publishing Company.

Bauchspies, W. (2007). Methods, Postcolonial. Retrieved last October 17, 2020 from http://onlinelibrary.wiley.com.

Corradetti, C. (2020). The Frankfurt School and Critical Theory. University of Rome Tor Vergata: Italy.

Demaske, C. (2009). Critical Race Theory. University of Washington Tacoma. Washington, USA.

Storey, J. (2009). Cultural Theory and Popular Culture: An Introduction, 5th Ed. University of Sunderland: Pearson Longman
Publishing.

Mambrol, N. (2015). Literary Theory and Criticism. Retrieved last October 17, 2020 from http://literariness.org.

Storey, J. (2009). Cultural Theory and Popular Culture: An Introduction, 5th Ed. University of Sunderland: Pearson Longman
Publishing.

Prepared by Approved by

John Jay L. Morido Norman Ralph Isla

Lecturer Chairperson
English Department | CSSH English Department

GEC 106 - Art Appreciation | 24

 MODULE 7
Learning Outcomes:

1.Define and distinguish folk narrative

ON HERITAGE: T’BOLI FOLK LITERATURE
types

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https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttp%2Fwww.mingsworld.com%2Ftboli.html&psig=AOvVaw1sDGtQBLyH_91zTCh_
2.Determine values reflective of the T’boli
as a people through their art

3.Derive human truths from the

selections

4.Apply in their lives valuable lessons from

selections discussed

5.Derive pleasure/enjoyment from the folk

literature of the T’bolis

Value their own as heritage

Time Frame: 6 hours

Activity:

1.Compose your own myth, legend, and

folktale as modeled by the selections.

2.What values did you highlight in your

composition?

Analysis:

1.How does a work art become one’s

valuable heritage?

2.How does one preserve it?

3.Stories (do they may be brief) as

literature are commentaries to certain
aspects of life. Do we see art as such?
Explain.

Abstraction: INTRODUCTION

The folk narratives falling under folk If there is one art form Tbolis take great pride in, it is their folk literature. The
literature (the bigger and broader very reason for this is the fact that their literature is the embodiment of the
branch of folklore) are literary forms that T’boli way of life. Knowing their literature is knowing who they are as people
should not only be appreciated for their with their values, their sentiments and their aspirations.
entertainment value. More importantly, This part of the course purports to make students of art appreciate literature
they have to be approached as art forms in one of its very important functions of reflecting people’s identity, thereby
that have more serious functions every taking them to a level of understanding who the T’bolis are as a nation.
individual could benefit from. Comments Specifically, students are expected to determine the values reflective of
that they make are lessons each one could the T’bolis as expressed and communicated in their literature. Too, they
apply practically in life and make better should be able to validate the same using their (the T’bolis) folk literature.
individuals of people . This is what a Ultimately, students would be able to derive pleasure from the folk literature
serious art is expected to do. as they are traditionally expressed (communicated) through recitation,
chanting or singing and even in their traditional dances where said literature
are, most often than not, embedded and made more colorful and significant.

As with other civilized group, Tboli folk literature falls under three main
groups: a) Folk Narratives, b) Folk Speech and c) Folksongs. Folk narratives
are broken down into myths, legends and folktales. Folk Speech on the other
hand are grouped as proverbs and riddles. Folksongs, the third major group,
consists of the narrative and the non-narrative type.

GEC 106 - Art Appreciation | 25

 In this module, the class will be treated to three T’boli stories, one falling under myth and the other two under legend and
folktale respectively.

https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttps%2Fwww.slideshare.net%2FMelis0722%2Fmyths-legends-and-folktales-slideshow&psig=AOvVaw3TczEx
Laj0C9s-bnAoFZ-M&ust=1606275897062000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCOiMmpaimu0CFQAAAAAdAAAAABAD

MYTH
In her book, Philippine Folk Literature: An Anthology (Eugenio (1986), the author qualified myths as:

1.Prose narratives considered to be truthful accounts of what happened in the remote past;

2.Stories that are accepted on faith;

3.Stories that are cited as authority in answer to ignorance and disbelief;

4.Embodiment of dogma;

5.Stories whose characters are not usually humans but deities

6.Stories which account for the origin of the world and of mankind (creation stories)

7.Stories considered sacred in the society where they are told.

An example of a T’boli creation myth is given below:

WHY TBOLIS HAVE PUG-LIKE NOSES

Because of boredom, Hyu We and Sedek We, known T’boli deities, decided to make man out of clay. When
the first man was finished, they were both pleased, having done a good job. Hyu, however, noticed a defect on the
creation-the nose was made upside down. Hyu We knew right away the danger the first man faces when heavy rain
comes – drowning. She waited for Sedek We to fall asleep then quickly made the correction by twisting the nose upright.
She pressed it too hard which resulted in the shape T’boli noses are generally described (This is a T’boli story given in a
lecture in English 165, Survey of Philippine Literature by the late Prof. Cesar Lutero, 1985) .

GEC 106 - Art Appreciation | 26

LEGENDS
In the same book, Eugenio (1988), described legends as:

1.Stories set in a period considered as less remote:

2.Prose narratives considered more secular than sacred;

3.Having humans as principal characters;

4.Stories of migrations, wars and victories;

5.Stories of the deeds of past heroes, chiefs and kings

6.Stories that may explain the whys’ and wherefores’ of things (etiological); and,

7.Stories that do not necessarily explain (non-etiological).

An example of this story type is provided below:

A T’BOLI LEGEND
A man and a woman were into an illicit affair. One day while they were courting, the woman accidentally dropped her pin
on the ground. When she tried to pick it up, a small lake began to appear where it dropped. The lovers were trapped.
As they struggled to get out of the lake, they, being relatives, were transformed into crocodiles. The doomed couple are
believed to still inhabit the said lake (From a Journal Article by Clariza, 2010).

FOLKTALE
On folktales, the third of prose narrative types, Eugenio (1988) classified them as:

1.Animal Tales

2.Marchen

3.Religious and Didactic Tales

4.Tales of Jokes

Fables, described as a minor group of animal tales, figure

prominently in Tboli folk literature. Appreciated not only for
their entertainment value, these stories are told for the moral
lessons they convey. Animals are ascribed with human qualities
to convey practical teachings for human beings.

T’bolis are interestingly fond of the story of the monkey and https://www.google.com/url?sa=i&url=https%3A%2F%2Ffanyv88.com%3A443%2Fhttps%2Fwww.slideshare.net%2Ffunphonicsreaders%2Fthe-monkey-and-the-turtle-

the turtle. A statue of the two animals are in fact intertwined in 51094744&psig=AOvVaw10lPhWNw1dEy84cfcOiKIC&ust=1606276787890000&source=images&cd=vfe&ved=0CA0QjhxqFwoTCPjLhr-
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a sculpted work displayed in a Tboli museum owned by Bao Baay,

a Tboli Chieftain and former vice mayor of the municipality of Lake Sebu in South Cotabato.

The following story is a popular version of this type:

A T’BOLI FOLKTALE
Two friends, a monkey and a turtle, while strolling, found an uprooted banana plant by the riverbank. Turtle suggested
that they plant it so that they could have some banana fruits to eat one day. But Monkey had other ideas. He cut the plant
in two, chose the part with leaves (believing that it would grow quickly because it already had leaves), and tossed the part
with ugly roots to Turtle. Dismayed by his share, Turtle went home and planted his part with a heavy heart. To Monkey’s
displeasure, his plant died, Turtle’s prospered and eventually bore fruits (A T’boli folktale shared by Datu Bao Baay to
English 165 students).

GEC 106 - Art Appreciation | 27

ASSESSMENT
Myth

1.What values of the T’bolis are directly stated or implied from the selection?

2.What truths about human nature can be drawn from them?

Legend

1.What act of sinning is implied by the story?

2.What, as suggested by the story, are the values that reflect the Tboli as people?

3.What truths about man are conveyed by the story?

4.What type of a legend is the story? Give your explanation.

Folktale

1.The two animals depicted in the story are symbols of virtues. What are these virtues each represent?

APPLICATION
Myth

1.Choose a part of your body (with a distinctive quality, eg., brown eyes) and compose a short myth of 150 words about it.

2.Discuss the values your myth is suggesting.

Legend

1.In one popular Filipino legend, the first monkey was believed to be once an extremely lazy boy. Employing animation,
complete the legend as to how the first monkey came to be.

2.State and explain the message that the legend conveys.

Folktale

1.Do we see these kinds of people depicted in the story in our midst? How do you respond to them?

GEC 106 - Art Appreciation | 28

REFERENCES
Clariza, Elena W. (2010). Sacred Texts and Symbols on Reading: An Indigenous Filipino Perspective. University of Hawaii at
Manoa, USA.

English 165 Students Interview of Bao Baay on Tboli Folk Literature in Lake Sebu, South Cotabato, 1st Semester of School
Year 2017-2018, MSU-GSC.

Eugenio, Damiana. (1982). Philippine Folk Literature-An Anthology. Folklore Studies Program, College of Arts & Sciences,
University of the Philippines. Diliman, Quezon City, Philippines.

Lecture of the Late Prof. Cesar V. Lutero in English 165, 1st Semester of School Year 1985-1986, MSU-GSC.

Prepared by Approved by

Ireneo S. Pelayo, M.E.S. Norman Ralph Isla

Faculty Chairperson
English Department | CSSH English Department

GEC 106 - Art Appreciation | 29