Republic of the Philippines

Mountain Province State Polytechnic College

Bontoc, Mountain Province

ART APPRECIATION

Module 6 of 8 modules

Soul making, Appropriation and Improvisation

Amelia Mary A. Atiwag

CP# 0907-892-2324
Dennia Luz A. Bacwaden
CP# 0907-150-6463
Beryl Jo A. Bimmuyag
CP# 0945-350-5297
Cristine D. Olayen
CP# 0910-414-6287
Delia Sumeg-ang
09217357795
Martin T. Wapan
CP# 0946-740-6960

Charlene Joy A. Tuazon

CP# 0930-464-1887
Eloisa F. Chungalan
CP# 0921-317-6729
Rylene I. Layagan
CP# 0948-787-5900
Gemielyn B. Pachao
CP# 0910-700-6971

Teacher Education
 First Semester SY 2023-2024

INTRODUCTION
Good day dear students!

In this module, we will tackle and discuss soul making or art making, which is
primarily based on drawing out or depicting the experiences and practices in an
individual and transforming these into images either into a painting, a sculpture, a
composition, a production, or any other art form. The topic on appropriation would let
you recognize the original source of the object or image, as well as its meanings, and
come up with a particular work and using the artwork to establish it in a new context.
The topic on improvisation will let you be familiar with the image and apply it in
creating or performing an art form without any preparation and doing it
spontaneously or instinctively.
At the end of this module, you are expected to submit the required outputs
such as photo appropriation, content appropriation, and the post assessment activity.

LEARNING OUTCOMES
At the end of the module, you should be able to:

a. discuss the concept of soul making;

b. develop student’s potential through soul making; and
c. characterize and define appropriation, borrowing, and ownership

PRE-TEST
Based on your knowledge about art making, read the questions below and
match column A with column B . Write your answer in a separate short bond paper
using capital letters.

Column A Column B
1.It is a form of crafting stories or transforming brief A. Subject Appropriation
moments into images or symbols.
2. It refers to barrowing images that are recognizable B. Culture
from different sources and make using these borrowed
images to make a new art form.
3. This refers to a specific type or form of intellectual C. Motif Appropriation
development.
4. This refers to adoption of works of art that are D. Object Appropriation
intangible.
5. This refers to appropriation of concrete and noticeable E. Appropriation
works of art.
6. It happens when artists are inspired by the art from a F. Music Improvisation
different culture but they do not produce artworks using
exactly the same style.
7. This occurs when a subject matter from another G. Art making
culture is appropriated.
8. Often called improve or impro. H. Dance Improvisation
9. It is the process of spontaneously creating I. Improvisational theatre
movement.
10. Improvisation can take place as a solo performance, J. Cultural Appropriation
interdependently in ensemble with other players.
K. Content Appropriation

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 LESSON 1: Soulmaking and Appropriation

Objectives:

At the end of the lesson, you should be able to:

1. know oneself better through soulmaking
2. describe and discuss the difference between the older artwork to newer
artwork through a formative creative activity.

LET’S ENGAGE

A pleasant day to all of you dear students, as we start this

lesson, let’s try to look first into these questions: What comes into
your mind if you hear the word art making or soul making? Have
you tried taking a picture imitating someone whom you idolized?
And have you tried to make a story based on what you have seen
and put yourselves as one of the character? Through this lesson,
you will be enlightened about these questions.

LET’S TALK ABOUT IT

Before we go further my dear students, try to read and understand the following key
concepts then do the activity prepared for you.

LLete’st’BsegBi
negin

Soulmaking (Artmaking)

 Is an alternative venue for knowing ourselves and looking into the depths and
real meaning of what we are doing for our everyday life (Narciso, 2012). It is a
form of crafting stories or transforming brief moments into images or symbols.
 It is an exploration and application of the imagination in an active way. In
making art, an artist or artisan or even the ordinary person utilizes imagination
to survive and live.
 Soulmaking can be an innate gift or a learned skill, or a combination of both.
Making art is not easy; it is complex and intricate, and it takes perseverance,
imagination, and a lot of hard, work. All through the ages, even the most
talented artists have had to work for five years to perfect their art.
 Soulmaking occurs where there is engagement among the person, time, and
space. Any place can be profound space for soulmaking. Artists and artisans
create a space of individuality and identity. People define their space literally or
physically but it is a fact that soulmaking can happen anywhere.

Categories of Soulmaking

Crafting Images

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  It refers to imaging or representing in any form, which may be through
painting, sculpting, drawing storytelling, poetry, dancing, composing, or
taking notes.
 Crafting images is just like weaving, quilting, or doing crochet; it is not
creating works out of nothing (Narciso, 2012).

Crafting Stories
 The moment we write, engrave, and inscribe our own thoughts, ideas,
commentaries, criticisms, and positive and negative emotions, we are
crafting stories. Stories can be presented in any form-image, words,
objects, and musical composition.
 The stories we craft become our own history that can be handed down to
our children and family for the succeeding generations.

Crafting Instruments
 An instrument maker is a bridge toward the unknown because the
instrument produces sounds that transcend our feelings, emotions, and
sensation in another realm (Narciso, 2016).
 Transforming any found or used object into a musical instrument allows
one to discover harmony and balance to produce a sound that is
entertaining, enhancing, and magical.

Crafting Movements
 Our life if full of movements; it is filled with various beats. Life is full of
flowing images accompanied by flowing narratives.
 Everything we do in life is a performance; we perform life. At times we need
to pause to capture the movements of our energy and the world.

Crafting Techniques
 Anything can be crafted by using different evocative descriptions of
experiences and explorations, like photograph studies, puppets and
masks, construction, and notepad studies.

A FRAMEWORK FOR GENIUS

7 key areas that shaped Leonardo’s genius, which you can use as a framework
for your own self-improvement:

1. Curiosita – an insatiably curious approach to life and an unrelenting quest for

continuous and constant learning.
2. Dimostrazione – a commitment and dedication to test knowledge through
experience, persistence, and a willingness to learn from mistakes
3. Sensazione – the continual refinement of the senses, especially sight, as the
means to enliven experience.
4. Sfumato – a willingness to embrace ambiguity, paradox, and uncertainty
5. Arte/Scienza – the development of the balance between science and art, logic
and imagination: “whole-brain” thinking
6. Corporalita – the cultivation of grace, ambidexterity, fitness, and poise
7. Connessione – a recognition of and appreciation for the interconnectedness of
all things and phenomena: Systems thinking

Appropriation

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  It refers to barrowing images that are recognizable from different sources
and make using these borrowed images to make a new art form.
 Mandiberg describes it as a means of experimentation by changing the
context around the borrowed images and objects. Thus, the meaning of
the borrowed images and objects is changed once these are used in the
new work of art.
 To appropriate does not mean stealing or plagiarizing. It is not owning a
particular work but just using the artwork in the artist’s new context.
 Appropriation artists do not prohibit the viewers to bring the original
message and intention of the original artwork; rather, they establish
them in the new context.
 Appropriation is different from copying or forgery. Appropriation allows
the viewer to recognize the origin of the borrowed images and objects, as
well as the original context.
 The aim of the artist is to recontextualize the borrowed object or image
through different steps, such as enlargement or repetition of that image,
framing, or translation across mediums.
 On the other hand, forgery or copying tries to deceive the viewers into
thinking that they are looking at an original work of art.

2 ways to appropriate artworks

1. Artists can appropriate artistic content, which includes artistic elements, such
as motifs, styles, genres, and similar elements, and complete artworks.
2. Appropriation of art can also be done by individuals who adopt items that they
consider to be artworks, specifically tangible creations of one culture.
 Appropriation considers the fact that the viewer should be able to recognize the
original source of the object or image, as well as its meanings.

Let us take a look at the images below. Can you identify which of the following
is an example of appropriation art? Then identify which image was borrowed?

https://ph.images.search.yahoo.com/yhs/search?p=example+of+appropriation+art+images&fr=y
hs-itm-001&hspart=itm&hsimp=yhs-

Cultural Appropriation
 According to the Oxford English Dictionary (as cited by Young, 2008) culture
refers to a specific type or form of intellectual development. It also means the

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 customs, practices, perspectives and even creations shared by a group of
people.

What about combining these terms, “culture” and

“appropriation”?
 Young (2008) defines cultural appropriation as “
appropriation that occurs across the boundaries of
cultures.” This means that a person with a certain culture
takes objects created by a person or a group of persons of
another culture, and uses these objects as his or her own.

Types of Cultural Appropriation

Young (2008) stated three types of cultural appropriation. These are the
following:

1. Object appropriation
 This refers to appropriation of concrete and noticeable works of art. This
happens when a tangible work previously owned by people from one culture
was taken and adopted by a person or a group of persons from another culture
Ex. Transferring a totem pole from North America to a museum in Europe.

2. Content appropriation
 On the other hand, content appropriation refers to adoption of works of art that
are intangible. Examples of these works of art are short stories, poetry, and
musical compositions.
 This happens when an intangible work previously expressed by people from one
culture was adopted and used by a person or a group of persons from another
culture.

2 category

a. Style Appropriation – artists involved in style appropriation do not replicate

the works created by a person or a group of persons from another culture.
However, they use the elements from these works from another culture in
creating their own works. Ex. A Caucasian woman who grew up in Australia
wrote original rap songs, which is part of African-American culture.
b. Motif Appropriation – on the other hand, motif appropriation happens when
artists are inspired by the art from a different culture but they do not
produce artworks using exactly the same style. An example of this is a
European artist using ideas from African art, but not necessarily following
the African style of art.

3. Subject Appropriation
 Lastly, subject appropriation occurs when a subject matter from another
culture is appropriated. An example of this is a British writer creating a story
about Pacific Islanders.
 It may be considered as the act of outsiders taking a subject matter that is
meant by insiders as a secret.
 Considering that outsiders only have access to the elements of culture that they
readily see and may be unaware of some other elements of culture that are

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 embedded and are not visible, they may have the tendency to distort the
insiders’ culture.
 This may happen in an offensive way. Because of this, subject appropriation
could be morally unacceptable.

Skills and Techniques in Improvisation

 Improvisational skills can apply to many diverse abilities or forms of
communication and expression across all disciplines, which may be artistic,
scientific, physical, cognitive, academic, and none academic disciplines.
 Improvisation can make an important contribution in music, dance, cooking,
speech presentation, sales, personal or romantic relationships, sports, flower
arranging, martial arts, psychotherapy, and many more where it can play.
 Techniques of improvisation are widely utilized in training for the performing
arts or activities, particularly in music, theatre and dance.
 To “extemporize” or “ad lib” is basically the same as improvising.
 Colloquial terms such as “let’s play it by ear,” “take it as it comes,” and “make it
up as we go along,” are all used to describe “improvisation.”

Improvisation in the Various Art Forms

1. Performing arts
 Improvisation can be thought of as an “on the spot” (at the moment) or
“off the cuff” (impromptu) spontaneous moment of sudden
resourcefulness or inventiveness that can just come or pop up to mind,
body and spirit as a stimulation since no preparation on training is
needed.
 Common in the performing arts is the musical improvisation, which is
the composition (and simultaneous playing) of music, without any prior
preparation.
 In improvisational comedy, which is a theatre art performed throughout
the world, has had an on-again, off-again status throughout history, and
lastly, dance improvisation is frequently used as a choreographic tool.
Choreography is also regularly used as a tool for improvisation.
 Improvisation can also be seen or exists outside the arts. Improvisation
in engineering is solving a problem with the tools and materials
immediately at hand. Improvised weapons are often used by guerrillas,
insurgents, and criminals. Improvised materials are used to clean
utensils and equipment.

a. Music improvisation
 Musical improvisation is the creative activity of immediate musical
composition, which combines performance with communication of
emotions and while simultaneously playing instrumental, as well as
spontaneous response to other musicians.
 Improvisation can take place as a solo performance, interdependently
in ensemble with other players.
 When done well, it often elicits gratifying emotional responses from
the audience.
 Improvised freestyle rap is commonly practised as a part of rappers
creative processes, as a “finished product” for release on recordings
(when the improvisation is judged good enough), as a spiritual event,
as a means of verbal combat in battle rap, and, simply, for fun.

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 b. Improvisational theatre
 Often called improve or impro, it is the form of theatre, often comedy, in
which most or all of what is performed is unplanned or unscripted: created
spontaneously by the performers.
 Improvisational theatre exists in performance as a range of styles of
improvisational comedy, as well as some non comedic theatrical
performances. It is sometimes used in film and television, both to develop
characters and scripts and occasionally as part of the final product.
 Improvisational techniques are often used extensively in drama programs to
train actors for stage, film, and, television and can be an important part of
the rehearsal process. However, the skills and processes of improvisation are
also used outside the context of performing arts.
 Applied improvisation is being used in classrooms as an educational tool and
in businesses as a way to develop communication skills, creative problem
solving, and supportive team-work abilities that are used by improvisational,
ensemble players. It is sometimes used in psychotherapy as a tool to gain
insight into a person’s thoughts, feelings, and relationships.

c. Dance improvisation
 It is the process of spontaneously creating movement. The development
of improvised movement material is facilitated through the variety of creative
explorations, including body mapping through levels, shape, and dynamics
schema.
 Dance improvisation is not only about creating new movement; it is also
defined as freeing the body from habitual movement patterns.
 A lot of improvisation is focused on finding a deeper way of
comprehending otherwise concealed thoughts of feelings of an individual.
Through the emphasis of instinctual, unpredictable, free movement that
improvisation is centered upon, the mover is able to explore authentic feelings
and inspirations.
 Dance improvisation as a choreographic tool: improvisation is used as a
choreographic tool in dance composition. Experimenting with the concepts of
shape, space, time, and energy while moving without inhibition or cognitive
thinking can create unique and innovative movement designs, spatial
configuration, dynamics, and unpredictable rhythms.
 Improvisation without inhibition allows the choreographer to connect to the
deepest creative self, which in turn clears the way for pure invention.

IT’S YOUR TURN

Elaborate:
It’s your chance to show that you learned something from our
topic. In a short bond paper, I want you to do the activity given below.
Make sure to write your answers using complete sentences hence it is
understood that you are to make an essay out of your activity. Identical
works will not be considered.
Evaluate:
Please answer the following activity in a short bond paper.
Additional bond paper may be used. Do not write at the back. And be
sure to write your name, subject, and schedule in your paper.

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Let’s Do It

1. Soul making Activity: ( Crafting Images, Stories, Movements)

Using the camera of your mobile phone, come up with 8 photos or
images of yourself that would show different positions, varied emotions,
diverse movements and outfits. Write something in 80 words to describe
yourself.
2. Formative Creative Activity
Look for artworks that have been appropriated in any form. Following the
format below, write the details of the chosen older artwork (title, theme, and short
essay), newer artwork (title, theme, and short essay), short essay commenting on
the two artworks, and the process.

a. Title of the older a. Title of the Write a short essay What did you learn
artwork newer artwork commenting on the from the process?
b. Theme of the b. Theme of the meanings of the Write your answer
older artwork newer artwork two artworks and in two to three
c. Short essay c. Short essay how the context sentences.
discussing the discussing the was changed from
meaning of the meaning of the the old artwork to
older artwork and newer artwork and the new artwork.
how you how you
understand it. understand it.

RUBRIK SA PAGGAWA NG SOULMAKING NA GAWAIN

Pamantayan Lubhang Kasiya-siya Hindi Kasiya-

(7,6,5) siya
sa Pagmamarka Kasiya- siya (4,3,2,1)
(10,9,8)
Pagkamalikhain Lubos na May Hindi kasiya-
malikhain ang siya ang
presentasyon at pabago- bagong estratehiyang
estratehiyang estratehiya sa ginamit at
ginamit presentasyon na walang sapat
nagdudulot ng na panahon sa
kalituhan pagbuo
sa
tagabasa
Kaangkupan Napakaangkop Hindi Hindi naaayon
ang mga masyadong sa teksto ang
sa Tema detalyeng angkop ang mga mga detalyeng
ipinaloob sa ulat detalyeng inilagay
ipinaloob sa ulat
sa ulat
Orihinalidad Orihinal May ilang bahagi Walang
sa ulat na orihinalidad

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 ang pagbubuo at taliwas sa
may sariling kahilingan ng sa paggawa
istilo sa gawain
paggawa
Kabuuan ng Ulat May malakas na May mga Hindi kawili-
panghikayat sa bahaging hindi wiling basahin
mga tagabasa malinaw at ang pag- uulat;
ang nagdulot nakakabagot
presentasyon ang mga
ng
pagkabagot sa detalyeng
tagabasa
inilahad

RUBRIK SA PAGBUO NG GAWAING FORMATIVE

Pamantayan Mahusa Maayo Hindi- Marka

y ( 10- s (7- mahusa
8) 5) y (4-0)
Nilalaman Angkop na May Walang

kaangkupan
angkop ang ang nilalaman sa kaangkupan
ang
nilalaman sa kahilingan ng guro nilalaman sa
kahilingan ng kahilingan ng
guro guro
Gramatika Mahusay na Mahusay na Hindi
nailhad
mahusay
nailahad ang ang mensahe na nailahad
gamit ang
mensahe ang tamang mensahe sa
gamit tuntunin
ang sa pagsulat sanaysay at
ngunit
tamang
tuntunin sa nangangailangan nangangailanga
pa n
pagsulat ng kaunting ng
rebisyon
muling
pagsulat

POST ASSESSMENT
You are now about to finish this module. Below are some questions you need to
answer. Provide a short bond paper for you to write your answer and use capital
letters. Don’t forget to write your name, subject, and schedule.

1. A commitment and dedication to test knowledge through experience,

persistence, and a willingness to learn from mistakes.

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 a. Curiosita b. Sfumato c. Dimostrazione d. Scienza
2. A willingness to embrace ambiguity, paradox, and uncertainty.
a. Curiosita b. Sfumato c. Dimostrazione d. Scienza
3. The development of the balance between science and art, logic and imagination:
“whole-brain” thinking.
a. Curiosita b. Sfumato c. Dimostrazione d. Scienza
4. The cultivation of grace, ambidexterity, fitness, and poise.
a. Corporalita b. Sensazione c. Dimostrazione d. Scienza
5. The continual refinement of the senses, especially sight, as the means to
enliven experience.
a. Corporalita b. Sensazione c. Dimostrazione d. Scienza
6. It refers to imaging or representing in any form, which may be through painting,
sculpting, drawing story telling, poetry, dancing, composing, or taking notes.
a. Crafting movements b. Crafting images c. Crafting techniques d. Crafting
stories
7. The moment we write, engrave, and inscribe our own thoughts, ideas,
commentaries, criticisms, and positive and negative emotions, we are crafting .
a. Crafting movements b. Crafting images c. Crafting techniques d. Crafting
stories
8. Anything can be crafted by using different evocative descriptions of experiences
and explorations, like photograph studies, puppets and masks, construction, and
notepad studies.
a. Crafting movements b. Crafting images c. Crafting techniques
d. Crafting stories

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9. Transforming any found or used object into a musical instrument allows one to
discover harmony and balance to produce a sound that is entertaining, enhancing,
and magical.
a. Crafting movements b. Crafting images c. Crafting instrument
d. Crafting stories
10. Everything we do in life is a performance; we perform life. At times we need to
pause to capture the movements of our energy and the world.
a. Crafting movements b. Crafting images c. Crafting instrument
d. Crafting stories

Very good my dear students, you have now

finished your module 6. Exhale inhale, be ready for
the next module.

REFERENCES

PANISAN,W.K., et al. (2018).Art Appreciation: Mutya Publishing House Inc.

https://ph.images.search.yahoo.com/yhs/search?p=example+of+appropriation+art+i
mages&fr=yhs-itm-001&hspart=itm&hsimp=yhs-

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