K-12 Art Curriculum Guide for Grade 7

K TO 12 CURRICULUM FOR GRADE 7 ART
TEACHING GUIDE
TABLE OF CONTENTS
FIRST QUARTER:
Module 1
DRAWING AND PAINTING
Folk Arts and Designs from Luzon
Lesson 1,2, and 3: Folk Arts of Ilocos Region and CAR
Folk Arts of Cagayan Valley and Central Luzon
Folk arts of Southern Tagalog and Bicol Region
Module 2
Folk Arts of the Visayas
Lesson 1 and 2
Module 3
Folk Arts of Western, Central and Eastern Visayas
Folk Arts of Mindanao
Lesson 1
Folk Arts of Mindanao
Zamboanga Peninsula, Northern Mindanao, Davao

Region
CARAGA, ARMM, SOCCSARGEN
Lesson 2 Cultural Communities of Mindanao
Module 4
Philippine Paintings
Lesson 1
Paintings During the Spanish Colonization
Lesson 2
Paintings Before the Revolution
Lesson 3 Paintings During the American Period, Post World War Era
SECOND QUARTER:
Module 5
PRINTMAKING
Printmaking Processes in the Philippines
Lesson 1 Printmaking in the Philippines
Lesson 2 Printmaking Techniques and Processes
Activity 1 Simple Rubbings from Found Objects
Activity 2 Leaf Prints
Activity 3 Prints from Vegetables and Fruits
Activity 4 Stencil Prints
Activity 5 Linocut and Woodcut
THIRD QUARTER: PRINTMAKING AND NEW MEDIA
Module 6
Printmaking and New Media
Lesson 1
Printmaking and New Media
Lesson 2
Evolution of Philippine Printmaking
FOURTH QUARTER: SCULPTURE AND VISUAL ARTS IN PHILIPPINES

DRAMA AND FESTIVALS
Module 7
Sculpture
Lesson 1 Early Forms and Traditional Sculpture
Lesson 2 Sculpture During the Spanish Colonial Period
Lesson 3 Sculpture During the American Period up to the Present
Module 8
Visual Arts in Philippine Drama and Festivals
Lesson 1 Traditional and Modern Philippine Drama
Lesson 2
Philippine Festivals (Luzon, Visayas and Mindanao)
K TO 12 ART for GRADE 7

FIRST QUARTER: MODULE I : DRAWING AND PAINTING
INTRODUCTION TO THE ART OF THE PHILIPPINES (OVERVIEW)
___________________________________________________________________
_________
Time Allotment : 1 session 1 hour
Lesson Summary
ART HISTORY
ART PRODUCTION
ART APPRECIATION
ART CRITICISM
Artifacts and visual

art of the
Philippines date
back to pre-historic
times, before the
period of the
Spanish
occupation, the
period of the
American
occupation and the
present,
contemporary
times.
Group work:
Research on the
a. culture of
indigenous groups
from Luzon, Visayas
and Mindanao
b. arts during the
Spanish period
c. arts during the
American period
c. arts after American
period up to
contemporary
times and
visualize your
research for a
presentation. .
Describe the visual

characteristics and
uniqueness of the arts
and crafts of the
indigenous groups in
each island group.
Discuss the
similarities and
differences among
the different crafts
and arts found in
the three islands in
terms of:
* Design, motifs
* Materials used
* Use of objects
* Influences
Describe the visual

characteristics of the
art created during
the Spanish,
American
and contemporary
period.
Trace the
influences of
Philippine art
during the different
periods.
OBJECTIVES
The student will:
1. Research on the indigenous peoples of the Philippines from Luzon, Visayas
and Mindanao and their culture, and the art produced by Filipino artists
during the Spanish, and American occupation and after.
2. Create with his group, a presentation that will visualize his research which will
be presented to the class.
3. Discuss, compare and appreciate the similarities, differences and uniqueness
of Philippine art produced by the indigenous groups and during different
historical periods.
ART VOCABULARY
indigenous - native to the place

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

FIRST QUARTER: DRAWING AND PAINTING
INTRODUCTION TO THE ART OF THEPHILIPPINES
__________________________________________________________________________________
ELEMENTS, PRINCIPLES, PROCESSES

1.
2.
3.
4.
5.
Geometric lines - different straight or curved lines

Geometric shapes squares, triangles, squares, rectangles, ovals, hexagons
Repeated design one pattern or motif or color repeated over a space
Alternating designs two or more patterns, motif or color alternated
Graduated designs - a motif or pattern that is repeated but in graduated size
from small to big, or if is color, from light to dark.
6. Mural making a big artwork which can be done alone or with a group,
usually
meant for a wall or wide space.
MATERIALS
(for their presentations)
any big paper, any material that is recycled, old magazine pages, glue, scissors,
pictures, actual artifacts.
LESSON PROCEDURE
SESSION 1: (1 hr.) MOTIVATION: TRACING ONES ROOTS (ART HISTORY)
1. Ask each student what province his parents are from and where he grew up
or stayed the longest. Name the province(s), the language/dialect he/she
speaks, the food and fruits from that place, traditions celebrated, songs,
crafts from that province.
2. Divide the class into the three island groups: Luzon, Visayas and Mindanao
or into other groupings relevant to the provinces represented by the students
and let them share their answers to the rest of their groupmates.
3. Let them synthesize findings of their group and present their group research.
SESSION 2 : (1 hr. )
ACTIVITY: RESEARCH, GROUP WORK. CREATE MURAL

(ART PRODUCTION)
1. Assign each group to divide the work: (Session 2)

a. Research on the different indigenous groups, or provincial or
linguistic groups in their island groupings. Have written reports and
visuals or drawings.
b. Assign them to interview their parents, grandparents or relatives to
get more data on the language, culture and artifacts and crafts from
their place.
(They can record the interview.)
c. Prepare a visual mural of their researches and findings for presentation.
d. Let students read the module on Module 1 of the Learning Guide.
K TO 12 - ART for GRADE 7

FIRST QUARTER: UNIT I: DRAWING AND PAINTING
INTRODUCTION TO THE ART OF THEPHILIPPINES (OVERVIEW)
__________________________________________________________________________________
SESSION 3: (1 hr.) PRESENTATION of each group and SYNTHESIS

(ART APPRECIATION)
Let each group do their presentation and ask the other groups to ask
questions and give their comments.
Post the work of the groups and let them write a synthesis of their learnings
In the group, and their insights about the report of the other groups.
Let them post their comments under the posted murals of each group.
(ART CRITICISM)
Let the groups choose: Best mural or poster in terms of design and
presentation
Best presentation before the class with all
members participating
Best research with complete materials
Ask students to give an explanation for their choice. Guide them to look at
the art elements and how they are applied in the mural.
**************************************
K-12 ART for GRADE 7

MODULE 1.FOLK ARTS AND DESIGNS OFLUZON
LESSON 1, 2, 3: THE FOLK ARTS OF: ILOCOS REGION, Cordillera
Autonomous
Region, CAGAYAN VALLEY, CENTRAL LUZON,
SOUTHERN TAGALOG, BICOL REGION
Time Allotment: 6 sessions of 1 hr. each = 6 hours
Lesson Summary:
ART HISTORY
ART
PRODUCTION
ART
APPRECIATION
ART CRITICISM
The folk arts of

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

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

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

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

MODULE 1.FOLK ARTS AND DESIGNS OFLUZON
LESSON 1, 2, 3:
THE FOLK ARTS OF: ILOCOS REGION, Cordillera Autonomous

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

Anthropomorphic design - based on living things plants, animals, persons,
nature
Geometric design -
based on lines and shapes like the square, rectangle,

oval, and different kinds of lines (straight, curvilinear)
Repetion -
when a line, shape, color is repeated in a design as

in a textile or mat.
MATERIALS
(for mat weaving) buri strips of various colors and widths
paper; pencil or crayons - for drawing design motifs
paints natural from dyes, or regular paints
brushes for painting
found materials seeds, leaves, and recycled foil from tetra packs.
LESSON PROCEDURE
SESSION 1: MOTIVATION and RESEARCH ART HISTORY
1. Ask students what province they or their parents, grandparents come from or
where they lived for some time. If they cannot name a province, they can choose
one of the provinces in Luzon and read from their Learning Guides and other
sources, what crafts, designs, festivals the province is known for. Encourage the
students to share their memories about the province familiar to them.
Do the Memory Check Exercise in the Learning guide.
2. Students may work in groups and join those researching and reading about a
particular province or region. They could find out the following: (Read Learning
Guide)

MODULE 1. FOLK ARTS AND DESIGNS OF LUZON
LESSON 1, 2, 3: THE FOLK ARTS OF: ILOCOS REGION, Cordillera Autonomous
Region, CAGAYANVALLEY, CENTRAL LUZON, SOUTHERN
TAGALOG , BICOL REGION
a. language spoken in that province

b. crafts or industry the province is known for and why what materials
they
use; where materials are sourced.
c. where crafts are used and when is it sold
d. particular designs or motifs used - they will draw this for presentation
SESSION 2: Students read and use as research source the Learning Guide:
Lesson 1
(Folk Arts of Ilocos Region, CAR); Lesson 2 (Folk Arts of
Cagayan Valley and Central Luzon), Lesson 3 (Folk Arts of Southern Luzon, Bicol
Region).
Students do Activity 1, Activity 2, Activity 3, Memory Check, and
Reflections
SESSION 3: Students make PRESENTATIONS by groups, with each member

sharing a different topic.
SESSION 4and 5.(1session of 1 hr.) ART PRODUCTION
Based on their researches, the student will do the following:

Activity 4 (drawing your design) and Activity 5 (weaving) in Learning Guide.
a. using buri strips, weave a small mat
b. do a drawing inspired by the pia barong designs of Lumban
c. using recycled tetrapack foil, make strips that can be woven into a small
basket, wallet or container.
d. if clay is available in the locality, mold a pot using coil or slab method and
create differently shaped pots.
e. choose a particular design motif (from Mt. Province textile, Batangas barong,
Bicol baskets, and adapt it to create a modern design. Paint your design.
SESSION 6 (1 session of 1 hr.) SYNTHESIS and ART APPRECIATION

a. Find out which artists were inspired to paint or draw scenes, persons, crafts
from the different provinces of Luzon. Comment on the the style of the artist.
b. List down arts and crafts of Luzon which are still being created and bought by
people
in the city or in the malls. Where are they used? Who buys them? Are they
expensive?
c. Let students do a PORTFOLIO as part of their synthesis (Homework)

d. Integrate what you have learned in the art sessions with your lessons in
Araling Panlipunan (History of the Phil. -Luzon) ; with Music - music of the
northern communities.
K TO 12 CURRICULUM FOR ART: GRADE 7

FIRST QUARTER: DRAWING, PAINTING
MODULE 2 : FOLK ARTS FROM THE VISAYAS
Lesson 1 and 2: FOLK ARTS OF THE VISAYAS:
Panay, Aklan, Antique, Capiz, Guimaras, Iloilo, Negros,
Siquijor, Bohol, Cebu, Samar, Leyte, Biliran .
___________________________________________________________________
Time Allotment: 2 sessions of 1 hour each = 2 hours
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
The Visayan
islands is where we
see the
strong Influence of
the Spanish culture
in
the songs, dances,
food, textiles,
attires, religious
festivals and the
architecture.
The Visayans have
different languages.
Craft a simple mat,

leaf whistle (torotot),
mat or basket
following the
traditional steps of
the Visayan
craftsmen and
women.
Trace the inspiration

of the art motifs and
other creative
expressions in the
Visayas, which is
different from Luzon
and Mindanao.
Compare the
design motifs of the
Visayans with those
of Luzon and those
from Mindanao.
What characterizes
Visayan motifs?
OBJECTIVES
The student will:
1. trace the history of the Visayan islands and be able to specify the most
dominant influence in their visual arts and crafts.
2. be able to describe the religions, languages, crafts, food, festivals of the

the different provinces of the Visayas, and show the distinctions of each
and make a creative presentation on the different provinces.
3. be able to draw design motifs inspired by the motifs seen in the crafts.
4. be able to weave a simple mat; construct a whistle out of a leaf, and

make
a visual and text portfolio on the arts and crafts of the Visayas.
VOCABULARY
Manunggul jar famous pre-colonial secondary burial jar excavated from Manuggul
Cave in Palawan, with two figures rowing a boat, signifying belief in the
journey of the soul to the afterlife.

FIRST QUARTER : DRAWING, PAINTING
Lesson 1 and 2: FOLK ARTS OF THE VISAYAS :
__________________________________________________________________________________
malmag or tarsier, found in Bohol, is one of the smallest living primate.
tikog a kind of leaf used for weaving mats of Basey, Samar.(In Waray they call it
bariw or romblon)
lara is the Samar word for weave and the mat weaver is called naglalara and
weaving is paglalara or pagrarara
burdais the word for to embroider on the mats
pu-so orbodbod is the woven container of the glutinous rice or puto, bibingka in the
Visayas.
salugin the traditional Tagbanua attire made of pounded bark of trees.
sinamay fabric made of woven abaca twine.
torotot - handmade whistles
banig handwoven mat of various local materials, the most famous found in Basey.
patadyong the wrap around handwoven skirt of Visayans which has a checkered
pattern.
kapis shell used for various crafts, and for the windows of local houses.
pinya -the fiber extracted from the pineapple leaves and used as fine fabric for the
barongtagalog
ART ELEMENTS, PRINCIPLES, PROCESSES
curvilinear lines lines that are curved and inspired by lines found in flowers and
plants
geometric design made of various straight lines and shapes.
natural dyes dyes from seeds, fruits and bark of trees used to dye mats and fabrics
repetition when a line or color or shape is repeated in a mat or fabric
contrast when a light color is woven beside a dark color or when a thin line or
shape is placed beside a thick line or shape to provide contrast
weaving - the handmade craft of using warp and weft strips or string to create a
fabric or mat
MATERIALS
buri or bangcuang, bamboo strips or any kind of leaf that can be made into strips for
weaving or recycled materials any dyes or coloring material paper and pencil or pen,
crayons for sketching designs any adhesive for pasting artworks, pictures for the
portfolio
LESSON PROCEDURE
OVERVIEW and HISTORY OF THE VISAYAS

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

FIRST QUARTER : DRAWING, PAINTING
Lesson 1 and 2: FOLK ARTS OF THE VISAYAS :
__________________________________________________________________________________
2. List down on the board what students know about the Visayas region.
3. Ask students to get their Learning Guide and do the Memory Check exercise
and read the overview in the Learning Guide.
Group the class by province:, and ask them to study the province and do
research, using the Learning Guide and other sources. Do Activity 2, 3
APPRECIATION OF THE VISAYAN ARTS AND CRAFTS

1. After their research, let the groups make a creative presentation of their
selected province (including visuals, songs, dramatization and actual crafts if
possible) before the class. They can include a creative assessment or test at
the end of their presentation to check what their classmates recalled.
2. The students can select: the most creative presentation

the most interactive presentation
the presentation with the most impact on audience
3. Display the posters, murals presentation boards, created by the different
groups on the provinces of the Visayas and display them in a public place in
school.
ART PRODUCTION: CREATION OF WOVEN MATS and TOROTOT
1. Let students source local leaf strips like buri, pandan, banana and other
leaves.
If these are not available, let them look for recycled materials: strips of
tetrapacks, old colored magazines and newspapers, paper bags or even old
plastic bags.
Check the steps in weaving from the Learning Guide. (Activity 4 and Activity
5)
(It would be helpful if a real weaver from the province can be invited to
demonstrate weaving techniques before the class.). Let students improvise
on the final woven product: can it be made into placemats, bookmarks, glass
holder or table runner or even a wallet or small bag possible handmade gifts.
2. The students can also sketch or draw the curvilinear designs of the barong on
small strips of paper, which could be made into notepads, stationery, or
bookmarks.
EVALUATION
1. Let students write their thoughts on the REFLECTIONS in the Learning Guide.
2. Submit their PORTFOLIOS as part of their assessment and evaluation for
this module.
3. Evaluate the mats and torotot: is the mat symmetrical in shape? Was there
any
variation in the weaving? Does the torotot make a musical sound?
4. Let students answer the Reflection pages to give their comments.

MODULE 3. THE FOLK ARTS OFMINDANAO
Lesson 1 ,2 : FOLK ARTS FROM MINDANAO:
ARMM Autonomous Region of Muslim Mindanao, CARAGA,
Davao, Northern Mindanao, SOCSARGEN and Zamboanga Peninsula
__________________________________________________________________________
Time Allotment: 2 class sessions of 1 hour each = 2 hours

Lesson Summary
ART HISTORY
ART
PRODUCTION
ART
APPRECIATION
ART CRITICISM
Of the three island

groups, Mindanao
has the most
number of
indigenous groups,
and also the
biggest
number of Muslims
in
the whole of the
Phil.
Show in a cultural
map the location of
each.
Draw a fern, which

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

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

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

1. describe the uniqueness of the different cultural communities in Mindanao
through a visual presentation and appreciate the differences and variations of
attire, their crafts, and their practices.
2. describe their unique culture: their languages, beliefs, practices, rituals, social
system, myths and legends that influence their lifestyle and artifacts.
3. draw a design derived from a motif of one of the artifacts of the cultural
communities
VOCABULARY
sarimanok the Maranao mythical bird with a fish in its beak or at its claws,and
with
intricately carved wings,made of wood or bronze, that is often used as dcor
okir/ ukkil - the wood carving designs of the Maranao and the Tausug that includes
the sarimanok, the naga (serpent-derived design) pakorabong (plant derived
design)

ARMM Autonomous Region of Muslim Mindanao, CARAGA, Davao, Northern
Mindanao, SOCSARGEN and Zamboanga, Peninsula
__________________________________________________________________________________
panulong the extended beams of a torogan, an elite Maranao house, that is

shaped
like the prow of a boat, intricately carved with the naga or sarimanok motif, and
brightly colored.
kulintang a set of bossed gongs suspended on a wooden frame and hit with a thick
wooden stick to create a unique resonating sound.
tnalak - the Tbolihandwoven, elaborately tie- dyed (called ikat) abaca cloth whose
design is dreamt by the weaver, so no two tnalaks are the same.
malong is the tubular multi-purpose garment worn by different groups in Mindanao,

with the most intricate and colorful worn by the Maranaos; it is decorated by
an embroidered narrow panel called the langket with pakorabong or okir
designs
Maitum jars - these are secondary burial jars and are unique because the human
heads that decorate the cover have different facial features, It was discovered
in Maitum cave.
anthropomorphic designs stylized designs derived from plants, animals, persons

like the pakorabong(vine), naga (serpent)
geometric designs based on different kinds of lines and shapes primary colors
natural dyes colors derived from seeds, bark of trees, leaves and flowers, mineral.
tie-dye an intricate process where threads of a fabric are tied according to a design
and dipped in different colors of dye and then untied and woven to create a one-ofa kind fabric design.
collage an artwork which includes the gluing of textured natural or man-made
found
materials to create a composition
MATERIALS
nature materials seeds, leaves, small twigs, petals. Dried flowers
glue
found material - magazine pages, paper
cutting tools scissors, cutter, knife
pen or crayons for drawing, paper


ARMM Autonomous Region of Muslim Mindanao, CARAGA,Davao, Northern
__________________________________________________________________________________
LESSON PROCEDURE
SESSION 1:
INTRODUCTION/ MOTIVATION (ART HISTORY)
1. Look at the map and list the provinces belonging to the regions in Mindanao.
2. Let students read and look at the illustrations in the Learning Guide for Module
3,
Overview to get a background about Mindanao and its history.
3. Assign the students by groups to research on the different regions of

Mindanao:
the peoples, the language, the culture, the religion, the festivities, the artifacts.
They can include drawings and pictures in their presentation.
NOTE: If some of the students are from Mindanao, let them talk about their
province,
their family, their customs and traditions. If they can perform (sing or dance)
or bring actual artifacts from their province, this would be more interesting
for the students.
SESSION 2:
PRESENTATION OF PEOPLES OF MINDANAO

(ART APPRECIATION and ART PRODUCTION)
1. The student groups can hang their posters and presentations on the wall so the
others can appreciate the variety of cultural communities: their attires, artifacts,
festivals, icons of the groups they researched on. Begin making a Portfolio on
your selected cultural community.
2. Look at Activity 2 of the Learning Guide, for creating an assemblage of leaves,

seeds and flowers and create your own assemblage.
4. Look at the samples of textile designs in Activity 3. What different motifs can
you
see? Draw some of these motifs on paper. Fill up the Reflection Page .
3. Let each choose one motif from the cultural artifacts of the group they
presented
and make a sketch of it. It can be a faithful replication of the design or it can be
an adaptation. (Materials can be any kind of paper, pencil or pen, crayons)
4. Post the sketches and select which designs are traditional and which are
adaptations. Label the drawings placing the name of the design and where it
came from.


ARMM Autonomous Region of Muslim Mindanao, CARAGA,Davao, Northern
__________________________________________________________________________________
SESSION 3 : SYNTHESIS
1. Do the Memory Check Activity in Learning Guide.
2. Do the Final Glance Exercise and the Reflection Page in the Learning Guide.
3. Let students exhibit their artworks in a public place so more students can
learn from it.


Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN
MINDANAO
Time Allotment:
1 session of 1 hour
Lesson Summary
ART HISTORY
ART
PRODUCTION
ART
APPRECIATION
ART CRITICISM
Of the three island

groups, Mindanao
has the most
number of
indigenous groups,
and also the
biggest
number of Muslims
in
the whole of the
Phil.
Show in a cultural
map the location of
each.
Draw a fern, which

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

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

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

1. view the designs seen in the panulong or the langkitand focus on the pako
rabong or vine motif and analyze how it is stylized.
2. draw sketches of any actual fern available in the locality and stylize it like
thepakorabong and create an original stylized design that can be applied or
used as a motif in a poster, a cloth design, or a bookmark.
3. post the drawings of the stylized ferns done by the students in class and
select the most unique designs; the most stylized; and the most colorful.
VOCABULARY
stylized - deriving a design from a real object and abstracting the design by using
lines, shapes and colors that are simplified, magnified or emphasized.
Pakorabong a stylized design based on a vine or fern.
symmetrical composition when both sides of a composition are the same or
balanced
informal composition when one side of the composition is not the same as the
other.


Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN
MINDANAO
Cultural groups in Mindanao and where they live:

Maranao largest and most dominant Muslim group; found in Lanao. Sultan
Kudarat,
Cotabato
Bajao in Sulu and Tawi-tawi
Bagobo in eastern uplands of Mindanao and eastern area of Davao del Sur
Bilaan- upland of Davao del Sur
Maguindanao Maguindanao province, north and south Cotabato
Mandaya southern part of Davao
Mamanwa in northern Surigao and Agusandelnorte
Samal in Sulu, Tawi-tawi, and coast of Basilan
Subanen in Zamboanga
Tboli- uplands of South Cotabato
Tausug in jolo, Tawi-tawi, coast of Basilan
Tiruray eastern part of Maguindanao, near Sultan Kudarat
Yakan Basilan island
anthropomorphic designs stylized designs derived from plants, animals, persons

like the pakorabong(vine), naga (serpent)
geometric designs based on different kinds of lines and shapes
symmetrical balance both sides of the work are the same
asymmetrical balance when one side of the composition is not identical to the other
side
primary colors - are the most basic colors (red, yellow, blue)
secondary colors are colors derived from mixing two primary colors.
natural dyes colors derived from seeds, bark of trees, leaves and flowers, mineral.
tie-dye an intricate process where threads of a fabric are tied according to a design
and dipped in different colors of dye and then untied and woven to create
a one-of-a kind fabric design.
collage an artwork which includes the gluing of textured natural or man-made
found
materials to create a composition
MATERIALS
Nature materials seeds, leaves, small twigs, petals. Dried flowers

glue, string
found material - magazine pages, paper
cutting tools scissors, cutter, knife
pencil, crayons, paints, dyes

Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN MINDANAO
LESSON PROCEDURE
APPRECIATING and CREATING THE PAKORABONG DESIGN
1. Ask the students to read Activity 2 of the Learning Guide.

Ask them to comment on the different indigenous art samples done by other
students in the last class period. Which compositions are symmetrical and
which are asymmetrical or Informal in balance?
2. Let the students look at the different vine motifs on the LANGKIT, the
PANULONGand ask them to create a design derived from any of the leaves
or flowers and stylize it . the design can be symmetrical or asymmetrical.
Let them display their works for others to appreciate and comment on:
a.
b.
c.
d.
which designs are original?

Which designs are symmetrical?
Which designs are asymmetrical?
Where can you apply these designs? For what products?
3. Let students write their coments on the REFLECTIONS page.
DRAWING AND PAINTING A TEXTILE DESIGN INSPIRED BY THE WOVEN
FABRICS OF THE INDIGENOUS GROUPS
1. Let students go to Activity 3 of the Learning guide and look closely at the
different
patterns, lines, shapes and colors woven by the different groups:
a.
b.
c.
d.
e.
f.
Yakan
Tboli
Maranao
Kinarayan
Dagmay
Maguindanaon
2. Using the same motifs and symbols that are used, let students adapt these
designs to create their own original design, using different patterns.
(Students can use pencils, pens, and crayons or paints or dyes. They can
draw their designs on paper, a bilao, abaca fabric, flat coconut leaf, or any
surface like bamboo or wood.
3. The drawing or painting of the design can be embellished with natural

materials like seed, leaves, shell and other found objects that can add texture.

Lesson 3 : THE RICH VARIETY OF THE CULTURAL COMMUNITIES IN MINDANAO
__________________________________________________________________________________
4. Display the original designs and motifs created by the students. Let them
choose
their favorite and let them explain why it is their choice.
5. SYNTHESIS : Let students write their thoughts on the final REFLECTIONS

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

FIRST QUARTER : UNIT II DRAWING AND PAINTING
MODULE 4: PHILIPPINE PAINTINGS
LESSON 1, 2, 3: PAINTINGS DURING THE SPANISH OCCUPATION,

BEFORE THE REVOLUTION, DURING THE AMERICAN
PERIOD, and POST WORLD WAR ERA
Time Allotment: 3 sessions of 1 hour each = 3 hours
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
The Pilipinos were

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

Pilipino artists, draw
and paint portraits
and
a landscape.
Distinguish the styles

of the different
Pilipino painters and
give examples of
their works.
Do presentation of
one of the famous
Phil. painters.
Describe the famous

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

artists would you
consider original
and unique in their
style?
Justify your
answers.
Create also a
storyboard based on
a local myth or
legend.
Create a photo
montage of your
friends or family
When the camera

was
Invented photos took
the place of portraits
Which artists
followed the styles
of the western
world?
Who among the
present artists are
your favorites ?
Which is better a
portrait painting or
a
photo of a person.
OBJECTIVES
The student will
1. Research on the Filipino artists who llived during the different historical
periods and show samples of their works with detailed descriptions for
presentation.
2. Draw portraits following the style of our artists during the Spanish period,
and paint a landscape following the style of contemporary artists.
3. Choose a painter and write about the influences in his life and his art.
Define the styles he tried and the style he is known for.


ART VOCABULARY
tipos al pais or genre paintings; of the local scene and scenery

miniaturismo- a style of portraiture when the artist painted a miniature portrait of a
person usually meant for a locket or a small frame.
Symbolism - when drawings and paintings had images or secret symbols only
certain
groups understood
portrait
- a drawing, painting or print of a person
ART ELEMENTS, PRINCIPLES
shapes and colors of faces there are different shapes of faces; skin and hair of
persons are also unique.
Texture landscapes show texture of places and buildings.
Harmony when the artist uses colors, shapes and lines that are complementary,
the
painting or drawing has harmony.
MATERIALS
different kinds of paper bond, craft, newsprint, oslo, watercolor paper

canvas, textile or wood or any surface (bilao, banig, wooden panels) to paint on
different kinds of drawing tools pencils, crayons, pens
different kinds of paints - watercolor, poster paints, acrylic, oil
PROCEDURE
MOTIVATION (1 session)
Look at the examples of Philippine painters in the Learning Guide (Overview), and
read about the historical background of the reasons why and how our local painters
had specific styles of painting to answer the need of the times (Spanish Period,
Revolutionary, American Period, Post World War period and the present times).
How did the paintings and drawings serve as the visual history of the Philippines?
Have a creative presentation of the paintings showing a timeline of the art works.
PROCESS: DRAWING and PAINTING (2 sessions)
1. Choose a particular Filipino painter during the Spanish period and emulate
his style of doing portraits.


2. After it is done, display your portraits and let your classmates name the
artists
whose style you emulated. What are the characteristics of this style?
3. Choose a Philippine landscape and render it in watercolor or acrylic, poster

or
oil .Select complementary colors to create your landscape.
Select a contemporary landscape and make a painting of it.

Compare this painting with the earlier landscape painting you did. Describe
the
differences.
4. Select a Philippine myth or legend, and create a storyboard illustrating it.

(Research on artists like Botong Francisco or Fernando Amorsolo and
describe
The myths or legends that they painted).
APPRECIATION and ASSESSMENT
1. Have an exhibit of your drawings and paintings and hold it in a public space
in
your school or community. Give an art appreciation session for your
viewers.
2. Make a written comment about the paintings and drawings on display:

a. which portrait is similar in style to a particular artist?
b. which portrait is original in style?
c. which photograph of a person is most expressive ? Why?
3. Invite a local artist and let him talk about his art, show some of his paintings
and
watch him as he paints. The experience of being with a painter as he works
(even if he does not talk, is a great learning experience for students).
a. describe how the artist works
b. what is the style of the artist?
c. what do you appreciate about his style?
4. Let students do the Activity pages and write his/her comments in the
Reflection
pages of the module.
K to 12 ART for GRADE 7

SECOND QUARTER: PRINTMAKING
MODULE 5 - PRINTMAKING TECHNIQUES: An Introduction
LESSON 1: PRINTMAKING IN THE PHILIPPINES
Time Allotment: (2 sessions - 2 hours)
Lesson Summary
ART HISTORY
Printmaking in the
Philippines was
done
long before the
Spaniards came but
it was from them
that
block printing
began.
Now we have many
artists who use
printmaking as their
medium.
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
There are many

methods of
printmaking but the
most common are
nature or found
object prints or
rubbings, rubber
prints, wood cuts,
and stencil prints.
Prints exhibit a
variety of texture and
lines as these are
etched or
carved or etched
from the master
plate.
In stencils, shapes
and colors are
emphasized.
Though prints make

it possible to have
several editions of
a work, each print
is an
original, particularly
if the printing is
done by hand.
Good prints have
clearly etched lines,
variety of textures
and
colors.
OBJECTIVES
The student will:
1. Research on the history of printmaking in the Philippines during pre-hispanic

times, the Spanish occupation and up to the present.
2. Make a creative presentation with a group on the history of printmaking in

the
Philippines, including samples of the different prints from the different
historical periods or a presentation on the different kinds of printmaking
techniques.
3. Appreciate and compare the unique characteristics of prints made in the

Philippines and the contemporary prints using different techniques.
ART VOCABULARY
1.
2.
3.
4.
5.
Laguna copper plate

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

ART ELEMENTS, PRINCIPLES

1. texture, lines, color, shape
2. variety, repetition, contrast, radial , alternating
MATERIALSand RESOURCES
1.pictures of prints for discussion
2. materials for presentation
3. internet websites on printmaking in the Philippines
LESSON PROCEDURE
MOTIVATION
1. Show samples of prints to students and ask them how these were made.
2. Look at the different illustrations of prints in the Learning Guide and read the
history of printmaking in the Philippines. Let students form a team of seven
and discuss what they have read in the Learning Guide.
ART ACTIVITY (See Activity 5 in the Learning Guide)
1. Cluster the students by groups and assign them to research on the following
topics on printmaking in the Philippines (2 sessions 2hours). Read Learning Guide
a.
b.
c.
d.
e.
2.
printmaking in pre-historic times

printmaking during the Spanish period
printmaking after the Spanish period (American period)
printmaking during contemporary times (20 th century)
famous printmakers in the Philippines.
RESEARCH
Give time for students to go to the library; access the internet; visit art galleries
or interview artists and printmakers in the community. The group should
discuss how they will present their researches and interviews, using a creative
format: power point presentation; visual poster presentations; TV-interview
format;
bring a guest artist-printmaker to class; install a print exhibit; have a gamecontest, etc
3. PRESENTATION
Students give their creative group presentation before the class.
Presentations will be judged on the following points:

a. comprehensiveness did the report cover all the data, historical texts
available? Were the points well explained?
b. clarity of presentation - was the language of the text relevant and

understandable to their classmates?
c. visuals - were the visuals used supporting the text of the report?
were there enough visuals to clarify the text and show the
different types of printmaking?
d. creativity of format was the style/mode of presentation unique and

interesting?
e. teamwork did all the members of the team have a part to play in the
presentation
f. preparedness did the group answer the questions from the class adequately?
4. ASSESSMENT and EVALUATION (CRITIQUING)
a. Before the presentation, tell the students how they will be evaluated by their
classmates on the six points listed above.
b. Explain that the students should give descriptive (text) evaluations and
numerical
evaluation for each of the six points listed above for each group presentation.
5
4
3
2
1
- excellent
- very good
- good
- fair
- poor
c. Do the Reflection page in the Learning Guide.
**************

MODULE 5 - PRINTMAKING PROCESS IN THE PHILIPPINES
LESSON 2. PRINTMAKING TECHNIQUES AND PROCESSES
ACTIVITY 1 : SIMPLE PRINTS: RUBBINGS FROM
FOUND OBJECTS
___________________________________________________________________
Time Allotment: 1 session - 1 hour
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Printmaking was
done by people
from different parts
of the world to
create designs on
paper, textile or on
walls.
Create a print or
rubbing from found
materials, objects
and compose these
prints using different
designs: radial,
repeated motifs,
alternating motifs
contrasting motifs.
Product: book cover,
textile design, wall
design, wall hanging
Prints exhibit a
lines, as seen in
rubbings
of coins, found
objects,with textured
surfaces and
other objects.
Clarity and design

in
a print is achieved
by doing a clear
rubbing and by
arranging the motif
following a design
that is radial, border
design, repeated,
alternating or
contrasting.
OBJECTIVES
The student will:
1. Analyze the various designs and motifs created by other artists for
various products: wall hanging, textile design, for borders of walls,
plates, mugs, and book covers.
2. Name the kinds of designs seen in the display or pictures, using art
vocabulary.
3. Create a rubbing using various objects found in the room and the
Environment following a particular pattern.
ART VOCABULARY
1. rubbing and patterns

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

MODULE 5 - PRINTMAKING PROCESS IN THE PHILIPPINES
LESSON 2. PRINTMAKING TECHNIQUES AND PROCESSES
ACTIVITY 1 : SIMPLE PRINTS: RUBBINGS FROM
FOUND OBJECTS
______________________________________________________________________
ART ELEMENTS & PRINCIPLES
1. texture is created by rubbing an object whose surface has embossed or etched

or indented parts (it can be smooth, corrugated, rough, ridged, stippled)
2. lines
- various lines are created depending on the instrument used for carving
Or etching (thick, thin, jagged, smooth, curved, straight)
3. shapes- embossed shapes can be geometric or natural shapes.

4. design motifs can be rectangular, oval, square, circular, triangular .
MATERIALS, RESOURCES
Various objects that have a flat surface but has varied textures (coins, pendants,
keys, alphabet blocks, corrugated paper, etc.
Crayons or charcoal
Absorbent paper or cloth
PROCEDURE
MOTIVATION
Ask students what different prints they have seen and what was the source of the
print.
Show samples of rubbings and demonstrate how it is done.
PROCESS
1. Layout several coins or textured objects on cloth or thick newspaper so it will

not
move or slide.
2.
3.
on
place thin paper on top of the textured objects.

rub the side of a dark crayon on the paper which is over the objects, and keep
rubbing until the shape and texture of the object is transferred to the paper.
4.
arrange the rubbings in an orderly design. It can be in a series or the rubbings
can overlap. Experiment and try different arrangement.
5.
Make several rubbings of different objects. Display your prints.
APPRECIATION and ASSESSMENT
Ask students to look at their work and comment on the clarity of the rubbing; the
pattern created by the arrangement of the rubbings. Choose which rubbings are
well designed and are clear.

MODULE 5 PRINTMAKING TECHNIQUES AND PROCESSES
LESSON 1, ACTIVITY 2 : LEAF PRINTS
___________________________________________________________________
Time Allotment: 1 session or 1 hour
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Printmaking was
done by people
of the world to
create designs on
walls.
The objects printed
Often times came
from natural
objects.
Create a print from

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

lines because the
Leaves have different
shapes, contours and
the back of the leaf
has veins that create
a design. .
Clarity and design

in
a print is achieved
by doing a clear
print and by
arranging the
leaf print following
a design that is
radial, border
design, repeated,
alternating or
contrasting.
OBJECTIVES
The student will:
1. realize that nature is a rich source of design as can be seen from different
shapes of leaves.
2. create several motifs for a design using prints of different leaves, and
apply it for a book cover or textile design.
3. appreciate the variety of leaf designs and the uniqueness of each print
created by other students and be able to select unusual designs.
ART VOCABULARY
1. patterns
2 clear impression or print
3. stamping. rolling, pressing
4
product design
5. differentdesigns: radial, repeated motifs, alternating, contrasting motifs

6. hand made prints vs. machine prints

__________________________________________________________________________________
ART ELEMENTS & PRINCIPLES
1. texture is created by inking an object whose surface has embossed or

indented parts (it can be smooth, corrugated, rough, ridged, stippled)
like the surface or the back of leaves.
2. lines
- various lines are found in the surface of leaves:

(thick, thin, jagged, smooth, curved, straight)
3. shapes-
shapes of leaves can be circular, oval, pointed oval, jagged edges
4. design motifs - can be rectangular, oval, square, circular, triangular .
MATERIALS, RESOURCES
1. different kinds of leaves with veins that are clear, or whose shapes are unnusual
2. paint which can be dripped on a wet sponge, or stamp pad with ink,
3. a brush or cloth to apply the ink or dye on the leaf.
4. old newspapers, rags, water
PROCEDURE
MOTIVATION: demonstrate the steps in doing a leaf print
1. assign students the day before this lesson to bring leaves with defined veins
and
those with unusual
shapes(like guava , San Francisco, papaya, etc)
2 show samples of leaf prints
3. have materials and equipment ready: leaves, dyes or stamp pad, thick paint on
wet sponge, old newspapers, rags.
PROCESS
.1. using a brush or balled cloth or sponge, get a modest amount of ink
2... dab the ink on the veined part of the leaf. Dye or ink should not be too
watery or too dry. Ink the raised part of the veins of the leaf and ink the
whole leaf.

3. press the inked part of the leaf on an absorbent piece of paper or textile.
4. place a newspaper sheet on top of the leaf and rub well over the leaf so
the inked side will be imprinted onto the paper.
5. lift newspaper and inked leaf carefully to see the imprint of the leaf.
6. check if the print is clear, and distinct. If not keep on practicing

inking, pressing the leaf until you get a good print.
7. plan the design of the leaf prints so they follow a pattern or shape
(radial, rectangular, square, oval, etc..)
PRINTING
Let students do their own prints. Allow them to make several attempts and
trials until they are able to create a clean and distinct print. Remind them
that printing of the leaf should not at random, but they should decide the
shape of the print design .
. APPRECIATION and ASSESSMENT
Once the design is completed, hang the paper to dry. If there is time, another
leaf and design pattern can be printed. Combining different leaf shapes
would make an interesting shape. Judge the leaf print on the same criteria used in
appreciating and judging the rubbings.
a. is the print clear?

b. does the leaf that was selected unusual in shape?
c. was there a clear impression of the veins of the leaf?
d. what kind of design pattern was created?
Write your reactions and thoughts in the REFLECTION page of the Learning Guide.

MODULE 5 PRINTMAKING PROCESS IN THE PHILIPPINES
LESSON 2: PRINTMAKING TECHNIQUES AND PROCESSES
ACTIVITY 3: PRINTS FROM VEGETABLES and FRUITS
__________________________________________________________________
Time Allotment: 1 session I hour
Lesson Summary
ART HISTORY
Printmaking was
done by people
of the world to
create designs on
walls.
The objects printed
often times came
from natural objects
like vegetables and
and fruits.
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Create a print from

different cut old
vegetables or cross
section of fruits and
compose these
using different
designs: radial,
repeated motifs,
alternating motifs
contrasting motifs.
Product: cards,
cover
Vegetable or fruit
prints exhibit a variety
of texture and lines
because the cut
vegetables or fruits
have interesting
shapes,. .
Clarity and design

in
a print is achieved
by doing a clear
print and by
arranging the
object print
following a design
design, repeated,
alternating or
contrasting.
OBJECTIVES
The student will:
1. realize that nature is a rich source for objects that can be printed, like
the
various fruits and vegetables: potatoes, okra, stalk of the banana leaf,
onions, calamansi, tomato, ampalaya, tomato, that when cut, have

interesting cross sections
2. be able to create prints using cross sections of old vegetables and fruits
and make a pattern out of different fruit or vegetable prints.
3. appreciate how men were able to create unique prints from vegetables
and fruits and describe the different patterns created from prints.
ART VOCABULARY ( ELEMENTS)
1. vegetable or fruit print
2. cross section
3. natural dyes
4. textures - veiny, rough, spotted, dotted, striated, ribbed

ACTIVITY 3: PRINTS FROM VEGETABLES and FRUITS
__________________________________________________________________
RESOURCES, MATERIALS
1. samples of vegetable and fruit prints
2. print making materials: natural or manmade dyes

paint on cloth or sponge
brushes or cloth rolled in a ball
old newspapers, rags, water
PROCEDURE
MOTIVATION
Show samples of prints from vegetables and fruits and ask students to identify it.
Demonstrate how to create a print using vegetable and fruit cross sections:
Ink the object by brushing or stamping the dye or ink or paint on the sponge.
Press the inked object on paper or cloth and put pressure so the print is clear.
PROCESS AND ASSESSMENT
1. Cluster the students by groups so they can share the materials. Ask them to
Look at the Learning Guide to see how prints are done.
2. Let them plan how they will print the objects. Will the design be circular, oval,
rectangular, or square?
3. Practice inking the object and printing it. The print must show distinct texture,
Lines and designs of the fruit or vegetable.
4. If cards are going to be the end product, fold the paper and plan the design of
placement of the prints.
5. Assign the groups to create prints : a. from one vegetable only

b. from a combination of 2 fruits
c. show overlapping prints as a variation
6. Hang prints to dry and display, so others can appreciate and assess them.
Use the standard criteria used for rubbings and judge the fruit and vegetable
prints,
their own and those of others.
7 . Fill up and write their thoughts and reactions on the Reflection Page in their
guide.

ACTIVITY 4 : STENCIL PRINTS
___________________________________________________________________
Time Allotment: 1 session I hour
Lesson Summary
ART HISTORY
To decorate a big
surface and repeat
A design or motif,
People in the older
times used stencils.
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Create a stencil from

thick paper, plastic
or wax paper by
cutting out the shape
or letters you want
printed.
Stencils allow the

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

in
a print is achieved
by doing a clear
print and by
arranging the
object print
following a design
design, repeated,
alternating or
contrasting.
OBJECTIVES
The student will:
1. know the history of stenciling, since it is a tradition in countries like India

and
France and the early American people.
2. create a simple stencil using letters and a variety of geometric or natural

shapes, which can be used on T-shirt or cloth or a big poster.
3. appreciate the skill of those who can print stencils with artistry,
neatness
and accuracy.
ART VOCABULARY
Stencil - has the design cut out from the paper or waxed paper
Brayer or roller another way of applying the paint or ink, using a rubber roller
Sponge stamp stamping the ink on the cut out portions of the stencil using
the sponge with paint
printers ink or acrylic ink - different kinds of ink for textile or any surface.
RESOURCES, MATERIALS
Check Learning Guide for steps demonstrated in creating a stencil and printing it
Waxy paper or plastic
Sponges
Acrylic or water-based ink in black or different colors (from the hardware)

ACTIVITY 4 : STENCIL PRINTS
__________________________________________________________________________________
PROCEDURE
MOTIVATION
1. Display products that have stenciled designs: T-shirts, mugs, posters, cards,
bags, book covers etc.
2. Discuss with students how the prints were made.
3. Demonstrate (if students know the process, let them do the demonstration)
The steps in stencil printing. (Look at the Learning guide)
PROCESS
1. Student draws his/her design on a piece of paper.
2. Cut out the parts you want printed by using a pair of scissors or cutter.
Exercise caution when using sharp tools like the cutter. Use old newspapers
under the paper when using a cutter.
3.
Place the cutout stencil on top of the paper or T-shirt or cloth and using a
Sponge, dab some paint or ink and make sure there is no excess. Dab the
Sponge on newspaper to check the consistency and thickness of the paint.
4.
Once the design is printed, lift the paper and place it on another paper
Or cloth and repeat the process.
ASSESSMENT
1. Hang the stenciled paper or cloth to dry and display after.
2. Select the works with well-printed stencils; with well-planned designs and
clear letters.
3.
Which stenciled products can be sold in the future? How can people make
A business out of stencil printing?

ACTIVITY 5 - LINO CUT AND WOOD CUT
__________________________________________________________________
Time Allotment: 1 session 1 hour
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Printmaking has
many techniques.
Wood cut and
wood blocks were
used for printing
books and their
illustrations. An
easier medium are
linocuts, since it is
made of rubber.
Presently,
We have many
artists
using different
media
to create prints.
Create a print using

small rubber sheets
or soft wood like
palo china or
batikuling.
The master plate has
to be carved using
sharp woodcarving
tools.
Rubber or wood
master plates can
print hundreds of
prints like in the
making of a book
when printing
presses
were not yet
invented.
Artists carved those
unique prints.
Clarity and design

in
a print is achieved
by using sharp
tools in carving the
lines and textured
areas.
A good print shows
contrast in lines
and
textured areas.
OBJECTIVES
The student will:
1. look at the works of different Pilipino printmakers and analyze their different styles
and topics and what makes each one distinct.
2. create a lino cut or woodcut by learning how to use carving tools carefully and
with
enough skill to be able to create different kinds of lines and textures, and to be
able to print several editions of the print.
3. recognize a good print by its qualities: clear and crisp lines and contrasts
between
textured and linear areas and solid areas; variety of lines and shapes; clear images.
ART VOCABULARY
1. lino cut
2. wood cut
3. brayer or roller
4. carving; carving tools
5. printers ink
6. artists edition
7. original print

__________________________________________________________________________________
ART ELEMENTS AND PRINCIPLES
1. texture created by using different carving tools (V-shape; u-shape)

2. lines - thin lines and thick lines, rough lines, jagged lines created by using
different
carving tools
3. contrast of negative and positive space created by carved areas and solid
areas
MATERIALS AND RESOURCES
1. rubber sheet (sole of shoes and slippers)

2. wood block (palo china or any soft wood that can be carved by woodcut tools)
3. wood cut tools
4. printers ink
4. roller or brayer
5. cloth to put under the rubber or wood plate
6. absorbent paper or textile
PROCEDURE
MOTIVATION
Show the prints of different Pilipino printmakers and ask the students to discuss the
different styles, compositions and topics of each.
Demonstrate the steps for making a linocut or woodcut.
PROCESS
1. Draw the design of the lino cut, using thick crayons so that the contrast
between
carved area and solid area is clear.
2. Carve out the areas that are meant to be white and carve the texture the other
areas
3. Make a rubbing first by putting soft paper on top of your rubber or wood block
to see if there is a strong contrast between the white, the black and the
textured areas. If not, continue carving more areas.
4. For the final print, ink the plate by using the roller or brayer to spread the ink
evenly over the surface. Too much ink will smudge the plate and too thin or
little ink will create a blurry print. It takes practice to ink a plate, so do several
trials.

__________________________________________________________________________________
APPRECIATION AND ASSESSMENT
1. Display several editions of the print and choose the better prints for exhibit.
2. Give comments about your work: the original plate; the prints; contrasts
achieved by the carved areas and the solid areas. Comment on how your
print can be improved.
3. view the prints of the students in the class. Pick out and acknowledge the
outstanding prints and give reasons for your choice.
4.
Write your comments on the Reflection Page in the Learning Guide.
5. Discuss how you can use prints to make a livelihood or for your own use.
Since you can produce multiple prints, with whom will you share your prints.

THIRD QUARTER: UNIT III PRINTMAKING
MODULE 6
Lesson 2
Time Allotment
: PRINTMAKING AND NEW MEDIA
: EVOLUTION OF PHILIPPINE PRINTING
: 1 session (60 minutes)
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Printmaking began
with the publication
of the first book of
prayers by the
Spanish Franciscan
friar Juan de
Plasencia titled
Doctrina Christiana
in
1593. It was
bilingual with
Spanish text and
Tagalog translation
in roman alphabet
and in ancient
Tagalog baybayin.
This was printed
using wooden
blocks. When
printing using
movable type
came, more books
were printed mostly
by the Chinese.
Later, Filipino
printers like Diego
Talaghay and
Tomas Pinpin of
the Dominican
Using any technology

available to you
(camera, duplicating
machine, printmaking
materials like
stencils, squeegee,
ink or textile paint,
create a poster that
explains printmaking
in the Philippines.
Appreciate the effort

and artistry of the first
printers in publishing
the first books using
crude and difficult
printmaking
methods.
Compare the
qualities of old
publications and
present ones and
be able to show
the artistic qualities
of each type.
Cite advantages and

artistic compositions
possible with the new
printing technology
like the camera,
computer, duplicating
machines, and
stencils.
Critique posters
created in class in
terms of layout, use
of fonts and letters
and
Illustrations to
bring across a
message.
You may also create

a power point
presentation using
pictures, letters, and
decorative borders
to create a report
on the history of
printmaking in the
Philippines.
Discuss importance
of present day
prints and posters
and its economic
value.
press
printed more books.
At present, we have
many printmaking
methods, both
manual and by
machine.
OBJECTIVES
The student will:
1. Be able to present the history of printmaking in the Philippines and other

topics his group has selected using varied printing techniques.

MODULE 6
Lesson 2
2. Be able to show in their group report the history, the personalities, and
the
various forms printmaking that evolved through the decades in the
Philippines because of the availability of new media.
3. Be able to critique the graphic qualities of the presentations of the

different
groups using critieria for a a good graphic design as applied to posters
and
presentations.
VOCABULARY
Woodblock
- a method of printing where the letters and images are carved on a

wooden block in reverse and printed on paper. Several editions
can
be printed in this manner.
Movable type
hasten
a method of printing where letters can be rearranged in a row to
printing a page since the letters can be reused with every page.
Stencil
is a method of creating a master by cutting out the letters on a sheet

and squeezing the paint through the cut-out portions.
Digital prints
the
a method of creating images and letters using pixels that capture
letters and objects or sceneries, which can be captured in an image

or
printed using a digital printer which can be in color or black and
white.
Balanced layout - in a print or poster, balance is created by having contrast of

textured areas and plain or solid areas; strong colors contrasted
with
light colors; geometric lines contrasted curvilinear or solid areas.
Emphasis
is created by focusing on one element or figure in a poster.
Graphic design
is design using letters and geometric shapes and natural shapes

for prints, posters, magazines, books, covers, etc.
contrast
in graphic design is achieved by juxtaposing light colors against

dark; geometric shapes against organic shapes; textured areas
against solid areas.

MODULE 6
Lesson 2
MATERIALS
Duplicating machine (if school or places around school has them)

Camera
Cell phones with camera
Computers
Printers
Stencil paper
Ink or paint
PROCEDURE
1. This period can be used for the students to work on their group project or
it
can be used for the presentation of the group works.
2. Let student groups state their topic before they make their graphic
Presentation. (It would be ideal if a computer, an LCD and printer are
available for the presentations). However, if these are not available,
The students can still use handmade stencils or rubber prints or
duplicating machines.
3. Before the presentation ask the class to note the following:

a. the topic - how adequately was it explained.
b. The visuals did the visuals clarify how printlaking was used
In their topic.
c. Artistic qualities of the visuals and graphic designs used
What art elements and principles were used?
d. participation of all members of the group.
e. impact of the presentation/ poster/ graphics used/
4. Let students answer the Learning Guide Reflection page 123. and ask
Them to label the different technologies that we use at present in
Learning Guide Final Glance p 137.
SYNTHESIS AND ASSESSMENT
1. Let each group assess their presentation and their graphic designs based
On the points in # 3 of PROCEDURE.
2. Let students choose the best presentation among the different groups
based on their assessment.

FOURTH QUARTER: UNIT IV - SCULPTURE
MODULE 7
Lesson 1
: SCULPTURE
EARLY FORMS AND TRADITIONAL SCULPTURE IN
THE
PHILIPPINES
Time Allotment
2 session of 60 minutes each.
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISIM
The ancient art of

pottery existed in
the Philippines as
early as 3,500 years
old as seen in the
Manunggul Jar
found in a Palawan
cave.
Create a sculpture
using available
materials clay,
mud,
vegetables and fruits,
and found objects.
Discuss the purpose

of the early
sculptures done by
our early ancestors
and appreciate that
most of them had a
spiritual dimension.
Critique ones
sculpture and the
work of others in
terms of design,
uniqueness and
use.
Pottery and carving

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

early figures found in
the Philippines to
those found in other
countries in terms of
form and design.
Compare the
materials used by
early Filipinos in
different parts of
the country in
creating their
sculpture.
OBJECTIVES
The student will:
1. appreciate the crucial role of sculptures in the lives of early Filipinos in

different parts of the Philippines and be able to distinguish its uniqueness
and specific characteristics.
2. create sculptures using available materials and exhibit them.

3. compare the sculptures of our ancestors from different parts of our
country
and be able to explain the purpose of their creation.
4. critique the sculpture one creates and those created by others.

MODULE 7
: SCULPTURE
Lesson 1
EARLY FORMS AND TRADITIONAL SCULPTURE IN THE

PHILIPPINES
VOCABULARY
Prehistoric art - art created by Filipinos before the coming of the Spaniards and
before written history.
Burial jar
- the Manunggul jar was a secondary burial jar, which means that
the jar contained only the bones of the person who had long been
buried and only the bones remain and are kept in a jar for
safekeeping.
Bul-ul
are god figures carved out of wood, and found in the Cordilleras to
guard the ricefields and rice harvest.
Sarimanok
is a mythological figure found among the Maranaos in Mindanao

in the
shape of a bird with intricate wings and tail, and holding a fish in
its
beak. This is similar to the bird sculptures like the Garuda of
Indonesia.
Three dimensional sculptures are three dimensional because they have height,
width
and depth.
Curvilinear
wings
the designs seen in the sarimanok are curvilinear designs in the
and tail, which is also seen in their okir motifs, derived from vines
and
flowers.
MATERIALS
Clay or any similar materials

Variety of vegetables and fruits
Carving tools or sharp knife
Bamboo sticks and toothpicks
PROCEDURE
1. Let students read their Learning Guide, Module 7 Sculpture to know the
background and overview of early sculptures in pre-historic Philippines.
2. Let them look at the different pictures of early sculptures from the
Cordilleras,
(bul-ul), from Palawan (manunggul jar and maitum jars), from Mindanao
(sari-manok ) and be able to describe these and their purpose.

MODULE 7
: SCULPTURE
Lesson 1
EARLY FORMS AND TRADITIONAL SCULPTURE IN THE

PHILIPPINES
3. Inspired by the sari-manok, ask them to use the different materials they
brought: clay or variety of vegetables and fruits, in carving these into
bird-like shapes. (See samples of carved fruits in the pictures in the
Learning Guide page 119)
4. Allow the students to work by twos or threes so they can share their
materials and they can complete their fruit sculptures quickly as these
would dry up or wilt quickly. Tell them to try to complete their sculpture
in one lesson.
5. Let students exhibit their works in a public place where others students
can view their vegetable and fruit carvings.
SYNTHESIS AND ASSESSMENT
1. Ask students to critique their carvings according to the following criteria:

a. uniqueness of designs carved
b. variety of carved designs and patterns
c. variety of vegetables and fruits used.
d. Variety of colors in the sculpture.
2. Let students choose their favorite sculpture and give the reasons for
their
choice.
3. To test their recall, show them pictures of the following:

a. bul-ul
b. sari-manok
c. manunggul jar
d. maitum jar
e. panulong
Ask them to identify the sculpture; the place where it came from; and
the purpose of the sculpture for our ancestors.

FOURTH QUARTER :
UNIT IV SCULPTURE
MODULE 7
SCULPTURE
Lesson 2
PERIOD
: SCULPTURE DURING THE SPANISH COLONIAL
Time Allotment
: 4 sessions or 240 minutes
Lesson Summary
ART HISTORY
ART CREATION
ART
APPRECIATION
ART CRITICISM
Sculpture during
this period was
largely religious and
served as the visual
aids for the friars in
their mission to
convert the Filipinos
to Christianity: thus,
we had figures of
Jesus, the Blessed
Virgin and altars
carved with
niches for saints.
However, the
Filipinos
indigenized the
fiestas and the
religious figures
(Sto Nio, San
Nicolas, San Isidro
Labrador, etc) and
the colorful folk art
and decoration:
Christmas parol
Lenten palaspas
Tinapay ni San
Nicolas, taka ng
Paete, balot
Create a Historical
and Cultural Matrix
of the:
sculptures,
architecture during
the Spanish period in
your town or place,
the religious
festivals observed
and the
dcor they use.
Write a detailed
description of the art
forms and sculptures
that began during the
Spanish period that
are still being
practiced in the
present times.
Compare the
sculptures found in
the Philippines
which were created
during the Spanish
period,
and similar
sculptures in other
European countries
indicate
similarities and
differences.
Interview, take
pictures and talk to
craftsmen and
artisans who still
create these artforms
that began during the
Spanish period, who
are living in your
area.
Describe:
The design
The colors used
Materials used
Event it is used for
Where is it found
Who creates them
pastillas ng
Bulacan,
Kiping ng Lucban
VOCABULARY
Santos - are carvings of religious figures, usually of wood, created during the
Spanish
Period. Sometimes, the hands and face are of ivory. Their clothes were
Intricately embroidered and at times, contained precious stones.
Taka
sold
are papier mache figures of animals or persons, made as decoration and
During religious harvest festivals in places like Paete, Sariaya, Lucban.

FOURTH QUARTER :
UNIT IV SCULPTURE
MODULE 7
SCULPTURE
Lesson 2
Palaspas
: SCULPTURE DURING THE SPANISH COLONIAL PERIOD
are young palm fronds, braided, woven and decorated for the ritual on
the
Lenten Palm Sunday to remember the entrance of Jesus by waving
the
palm fronds at the beginning of the mass.
Kiping
are brightly colored leaf-shaped dcor hung together like a chandelier

to
decorate the houses in Lucban, Sariaya and other nearby towns in
celebration of a good harvest in thanksgiving to San Isidro Labrador.
ART ELEMENTS and PRINCIPLES
Relief
when saintly figures are carved on wood (as in retablos or altar

pieces)
they are done in bas relief (low relief) or high relief, which means they
protrude from the wood.
Repetition
shapes and colors are repeated as seen in the kiping in the feast of
San Isidro Labrador.
MATERIALS
For the interview of an artisan or craftsman, the students need to bring tape
recorder,
camera or if possible a videocam so they can record not only the words and the face
of the craftsman but also how he works and the artistic products he creates.
For the cultural mapping, the students need the same materials.
PROCEDURE
1. Ask students what they think the Spaniards left with the Filipinos. What
are some of the practices, beliefs, rituals and festivals we have that
were influenced by the Spaniards?
2. Ask them to read the Learning Guide (Module 7 Sculpture, Lesson 2Philippine Sculpture during the Spanish Period, page 118-120) and
comment
on the pictures of the different religious statues of the Sto. Nio, the
Mahal na Birhen and the Nazareno. Let them describe the attire, and the
feastdays of these three figures and in what province or city they are
celebrated. What religious figures are found in your barrio, province?
3. Divide the class into geographic groups (those living close together
belong to
one group) and have a Cultural Inventory or Cultural Mapping of their
place
indicating the sculptures and architectural buildings in their place.
(Let them use the Matrix in the Learning Guide page 121).

FOURTH QUARTER :
UNIT IV SCULPTURE
MODULE 7
SCULPTURE
Lesson 2
4. Once they have completed their Cultural Inventory, let them present this
before the class. They can include drawings and pictures of the
sculptures
and buildings they located in their place.
Their report should include the following:

a.
b.
c.
d.
e.
f.
sculptures description
place and location
material it is made of and its height, description
artistic style
artist/craftsman who made it
historical or religious significance.
The completed Cultural Inventory can be displayed in the classroom for

others to read and learn from.
5. INTERVIEW OF A LOCAL ARTIST or CRAFTSPERSON (groupwork)

This is a good opportunity for students to discover and honor a local
artisan,
artist or craftsperson. It could also be a group of craftspersons.
It would be good to set an appointment before the interview.
The group can bring the following so they can share their interview:
a. tape recorder to get the answers of the craftsperson verbatim.
b. Camera - to capture the image of the artist and his works
c. Video cam to record the artist at work and record the different
phases of his work, and the different works he/she

has done.
(it would be commendable for the group to get
A sample of the work of the craftsperson to share
With the class).
6. The group shares their interview with the craftsperson to the class
through the taperecording; pictures of the craftsperson and his/her
works and crafts; maybe a video or film of how he/she works.
7. It would be wonderful if the group can invite the artist or craftsperson

to actually come to the class and present his some of his works!
This is a great opportunity for the students to encounter an artist
face to face. Or, if possible, for the class to visit the artist and show
appreciation for his works.

FOURTH QUARTER :
UNIT IV SCULPTURE
MODULE 7
SCULPTURE
Lesson 2
ASSESSMENT AND SYNTHESIS
1.
Create a common cultural map of ones province, city or place and locate the
different sculptures, architectural works and crafts based on the group work
and reports, in the particular street or locality.
It should answer the need of newcomers and tourists: What cultural artifacts
and icons can I see here in your city, province or barrio?
2.
The students should go beyond the information provided by the usual

tourist brochures and handouts.
3.
Create a Cultural Newsletter of the sculptures, religious festivals and

Craftsmen/women in the barrio, province or city based on the reports given.
The different groups can be assigned to do a page each.
K TO 12 ART FOR GRADE 7

FOURTH QUARTER: UNIT IV SCULPTURE, DRAMA AND FESTIVALS
MODULE 7
: SCULPTURE
Lesson 3
: SCULPTURE DURING THE AMERICAN PERIOD UP TO

THE PRESENT
Time Allotment: 4 sessions of 60 minutes each
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Sculptures during
the American
Period represented
historical figures or
events as seen in
the works of
classical sculptor
Guillermo
Tolentino.
In present times,
we see this in
modernist Edwardo
Castrillo.
Works using local
materials like stone
and wood of
Napoleon Abueva;
steel of Solomon
Saprid and glass
of Ramon Orlina
were of different
subjects. Junyee
and Rene
Villanueva created
installations using
natural materials
like leaves, seeds,
stones, and
Create a sculpture
using junk or
discarded metal,
wood, steel materials
and wood, plastic,
and other natural
materials
It can be a realistic,
expressionistic,
abstract or imaginary
sculpture.
A Filipino sculptor
who uses discarded
metal for figures and
barong-barong
houses is Raul
Arrogante.
Create a matrix of
styles used by our
sculptors to
represent these
periods:
Classical
Modern/ Figurative
Experimental
Expressionistic
Abstract
Artists who use

junk,
or found material are
those who created
the imaginary
creatures and
monsters found all
over Marikina City.
Pablo Picasso
created a bulls
head out a
bicycle seat.
By looking at the
works of the local
sculptors, one can
label the period they
lived in because of
the subject, the style
of their sculpture
figures and the
materials they used.
Name the sculptor

and the title of their
work and compare
their different works
according to topic,
materials used and
style.
bamboo
This period also
saw the influence
of Western
sculptors as seen
in the work of our
local sculptors.
VOCABULARY
Classical style
- follows the Greek and Roman style of carving a human body

following standard measurements so the result is an ideal body
and
face.
Modern, figurative sculptures like Abuevas are not realistic, but one can still
distinguish that it is a human person, but done in a stylized or
figurative manner.
Abstract style
do
sculptures that are abstract explore shapes, lines, textures and
not necessarily show a person or object.

MODULE 7
: SCULPTURE
Lesson 3

THE PRESENT
Installation art
are works created in and adapted to a particular place. Often,

the
work is installed outside and is exposed to the elements rain,
sun,
water, and the materials do deteriorate over time. It is not the aim
of installation art to last, rather, its aim is to show how the
sculpture
interacts with the environment, or is part of the environment.
Form
- sculptures have form or are three dimensional. It is work in the round

meaning it can be viewed from the top, bottom, side, front, back and
this
distinguishes it from 2-D art like paintings and drawings or prints.
Texture
sculptures are made of materials that have different tactile qualities:

Metal is cold and hard; wood is warm and sensuous; leaves, seeds
and
twigs are varied in texture they can be spiky, hard and fragile, or
smooth, soft and malleable.
MATERIALS
Visual references to the different sculptures and sculptors are found in the Learning
Guide, module 6, Sculpture, Lesson 3.
For the Junk art, students can be assigned to look around their neighborhood and
gather discards: plastic bottles, covers, tin cans, metal parts of machines from car
repair shops or computer shops and other junk material of household machines.
Students can also use natural materials like Junyee (narra pods, seeds, sticks,
Coconut husks, shells , twigs, vines, etc)
PROCEDURE
SESSION 1
1. Ask students what sculptures they see around the town or city they are in.
What kind of figures are they? What is it made of? Who was the sculptor?
2. Let them read the Learning guide, Module 6, lesson 3- Sculptures during
the
American Period up to the present. Ask them to identify the sculptures
they
see and ask them if they know who created them.
3. Divide them by groups to research on the different sculptors and their

works aside from the ones in the Learning guides. If there are local
sculptors,
let students interview them or invite them to class.

MODULE 7
: SCULPTURE
Lesson 3

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

particular materials he used
style in creating the sculpture
topics used
influences of the sculptor.
SESSION 3, 4
5. Assign students to collect junk material or found materials, and work
with
others in the group:
a. based on the materials they have collected, discuss with the group
what their sculpture will be: a person; an imaginary creature;
a Philippine mythological creature; a monster; an imaginary
machine; etc What is important is for the group to make
sketches
of how they envision their sculpture to look like, using the
materials
they have.
b. Have wire available for them to put their junk material together.
For nature materials, abaca twine or vines can be used.

If soldering machine is needed, ask students to seek the help of
repair shops in the neighborhood, since caution is needed in
using these.
6. Once the sculptures are done, choose different sites in the school or even
in the neighborhood, to display the works, so that other students and the
public can enjoy them. The teacher can have a formal opening of exhibit.
Invite the junk shop or repair shop owners that donated materials.
1. Ask the students to assess their own group work and the work of the
other groups on the following points:
a.
b.
c.
d.
e.
use of a variety of junk material

originality of concept for the sculpture
originality of form and design
originality in the use of materials.
interesting if viewed from different angles
2. Let students do the Reflections , Final Glance and Evaluation in the

Learning Guide.

FOURTH QUARTER
: UNIT IV - SCULPTURE, DRAMA AND FESTIVALS
MODULE 8
FESTIVALS
: VISUAL ARTS IN PHILIPPINE DRAMA AND
Lesson 1
Time Allotment:
TRADITIONAL AND MODERN PHILIPPINE DRAMA
2 session of 60 minutes each
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
Traditional drama in
the Philippines was
based on local rites
and rituals which
the Spanish friars
used and adapted
to Christianized
Filipinos. Thus we
have the senakulo,
the Santa Cruzan,
the
duplo, subli, moromoro, moriones,
Pabasa ng Pasyon.
and senakulo.
Working by groups,
replicate one of the
local dramas and
rituals during the
Spanish times,
based on your
researches.
If possible, witness
one of the dramatic
local rites and rituals
in your barrio, city or
province and write
about the experience.
Compare the rituals

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

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

costumes, the
decoration, the
singing and the
participation of the
ordinary folks and
the re-enactment of
certain dramas
serve to imbed this
in the
consciousness of
the people
whether young or
old.
The dramatization
with songs, dances
and costumes
made
Christian doctrines
more appealing to
the local folks all
over the country
where the Spanish
friars settled
Modern drama like
Some forms are still

practiced up to the
present like the
pasyon,Santa
Cruzan and the
senakulo and moromoro.
the zarzuelas and

now the telenovelas
are not religious in
character. Their
plots were usually
human romances,
conflicts, and
resolutions.
.
OBJECTIVES
The student will:

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

FOURTH QUARTER
MODULE 8
: VISUAL ARTS IN PHILIPPINE DRAMA AND FESTIVALS
Lesson 1
2. understand that the arts are an important component of Philippine dramas

and rituals and this includes not only the visual arts but also music and
drama.
3. be able to compare the different festivals in their locality based on several

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

telenovelas.
VOCABULARY
Senakulo
theatrical dramatization of Christ passion and death which is a

reenactment of events leading to the His crucifixion; done in
Lent
Santacruzan
done in May, this is a dramatization of St. Helenas search for

the cross and is a novena procession with persons chosen to
wear attires of the different characters of the Bible.
Moriones
comes from the word morion the helmet of Spanish soldiers.
This is the dramatization of one Spanish soldier named

Longinus,
who pierced the heart of Christ on the cross to make sure He
was
dead, but a drop of blood fell into his blind eye. Miraculously,
he
was able to see and declared Christs divinity. For this he was
beheaded. This is celebrated in Marinduque.
Moro moro
or komedya, introduced by the Spanish, with brightly costumed

princes and a princess of medieval Europe. Usually, they
depict
epic stories of love and vengeance, with long and dramatic
fighting scenes, lasting three to fifteen hours meant to entertain
the local people.
Colors
usually, these dramas had characters in bright and elaborate

costumes of bright colors to attract the viewers. Since the
characters were known by their attire, they followed tradition.
Sounds
since microphones were unheard of in the Spanish times, the

characters in the drama relied on music played by local
musicians,
or they sung their parts with accompaniment of musical
instruments.

FOURTH QUARTER
MODULE 8
Lesson 1
MATERIALS
For a reenactment, students can use recycled costumes and clothes and they can
create their accessories from found objects which they can paint to look like gold or
silver. (They need cardboard, glue, string and found materials)
For their research, the students can review their Learning Guide, or look at old
calendars, or search in their computer for pictures of the different rituals and dramas.
PROCEDURE
SESSION 1
1. Let students become familiar with the different Philippine rituals and
dramas
By reading the Learning Guide, Module 8 on Philippine Drama and
Festivals.
Ask them to read the overview, and the objectives of the module.
2. Connect the elements of a western drama (exposition, development,

climax,
denouement, conclusion ) to the religious dramas and rituals and review
if these elements are also found.
3. Read Lesson 1, Memory Check and let students answer the questions
and
Identify the various pictures of the different rituals and dramas. Let them
read data on the Traditional Dramas in the Philippines (Lets Talk About
It)
SESSION 2
4. Dividing them by groups, ask each group to re-enact one of the traditional
Philippine rituals and drama, complete with costumes and recited parts.
(they can re-enact a portion, so all groups can perform).
Allow one session for them to create their costumes and rehearse their
performance for presentation.
5. Encourage them to interview actors of the different religious practices

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

FOURTH QUARTER
: UNIT IV SCULPTURE, DRAMA AND FESTIVALS
MODULE 8
FESTIVALS
: VISUAL ARTS IN PHILIPPINE DRAMA AND
Lesson 2
Time Allotment
: PHILIPPINE FESTIVALS
: 4 sessions of 60 minutes each
Lesson Summary
ART HISTORY
ART PRODUCTION
ART
APPRECIATION
ART CRITICISM
They say that

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

can wear, based on
one of the festivals of
the Philippines
using cardboard,
beads, buttons,
feathers, found
objects and glue.
Create an
accompanying attire
or costume to go with
it. Let the whole
class celebrate by
groups.
Appreciate the role of

festivals in
strengthening the
bond among people
of a community when
they celebrate
together by
decorating their
churches, houses
and themselves in
thanksgiving or in
praying for a bountiful
year.
Compare the
different festivals
and rituals in terms
of their:
Ati-atihan (Aklan)
Pahiyas (Quezon)
Panagbenga
(Baguio)
Sinulog (Cebu)
Dinagyang (Iloilo)
Maskara (Bacolod)
Kadayawan
(Davao)
Lamilamihan
(Basilan)
-Length of time it
has
been celebrated
-rituals and rites
that
people observe.
- required attire or
dcor of the
festival
-music, food and
other traditional
practices
OBJECTIVES
The student will:
1. appreciate the variety of various Philippine festivals and their uniqueness

in
terms of the manner it is celebrated: rituals, dcor of houses and attires
of
the participants and the community, the food served, music played and
other
activities..
2. realize that practically all provinces in the country have their own festival
which develops pride of their town or province and commemorates either
festival for their patron saint, thanksgiving for a bountiful harvest, or to
highlight the provinces produce or cultural icons.
3. create a replication of a festival familiar to them and celebrate it in school

complete with costumes, songs and dcor.

FOURTH QUARTER
MODULE 8
Lesson 2
VOCABULARY
Fiesta or festival - is a communal celebration of a patron saint, a commemorative

or
historical event, thanksgiving for a bountiful harvest or a blessed
circumstance; or a showcase of local indigenous peoples, their
rites and rituals, their skills and products, and their traditions.
Patron
is the name the local people give their patron saint for whom they
dedicate the festival and celebration for.
ART ELEMENT AND PRINCIPLES
Mask-making
is a process of creating a face covering after a particular style and

design. For example, the masks at the Maskara festival are all
smiling, while the masks in the Ati-atihan are unique and
iimaginary,
using different materials and found objects.
Baroque dcor
Because the masks made tend to be heavily decorated and fully
covered with beads, sequins, buttons and found objects, and

glitter, art lovers label them so baroque.
Texture
Ati-atihan masks are always a surprise because the local people

decorate it with such original materials and various textures
that they are literally, works of art!
MATERIALS
For the reenactment of one of the Philippine festivals, the students will need a lot of
found materials, beads, seeds, cardboard, tetra pack paper, brooms, coconut shells,
etc and glue, scissors, wire and other construction materials like masking tape,
etc..
PROCEDURE
SESSION 1
1.
Let students recall the different festivals they know of. Read Lesson 2 of
Module 8 in the Learning Guide. They should identify the festivals based
on the pictures on this page, since these are popular festivals in the
Philippines. Ask them to describe the attire of the people, the reason for
the festival, the dcor, food and other unique features.
Ask them to name local festivals that are celebrated in their town and
discuss how it is celebrated and for what reason is it held.

FOURTH QUARTER
MODULE 8
Lesson 2
2.
Divide class into three groups (Luzon, Visayas and Mindanao) and let
them research on the festivals celebrated in that island group. They
should make a report that will include:
a. name of the festival
b. its history and why it is celebrated
c. practices they do during the festival
d. attire of the townsfolk and dcor of their place
e. food that they serve during the festival
f. other products and practices.
g. economic gains of the festival for the townspeople
h. participants in the festival
SESSION 2
3.
Let each group report on their festivals by island group. Encourage them
to use multi-media and actual costumes and masks.
4.
Le the class select the : most colorful presentation

best research, history
biggest participation of members of group
most interactive with audience
clear explanation
SESSION 3
5.
Continue the use of the costumes and attires and let the students add to
their clothes, masks, dcor. Assign a place in the room that they can
decorate so that others can study their researches and appreciate their
crafts.
6.
If the school permits, the class can involve other classes as audience
by performing the festival in the school grounds.
SESSION 4
7.
After the presentation, let students write their Reflections (from the
Learning Guide, page 123). Critique the presentation fo the different
groups based on assessment given by the teacher.
Let students answer the instructions in Final Glance of the Learning Guide,
Page 137) where they have to locate the different festivals in the map of the
Philippines.

K-12 Art Curriculum Guide for Grade 7

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K-12 Art Curriculum Guide for Grade 7

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K TO 12 CURRICULUM FOR GRADE 7 ART

DRAWING AND PAINTING

Folk Arts and Designs from Luzon

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

Folk Arts of Cagayan Valley and Central Luzon

Folk arts of Southern Tagalog and Bicol Region

Folk Arts of the Visayas

Folk Arts of Western, Central and Eastern Visayas

Folk Arts of Mindanao

Folk Arts of Mindanao

Zamboanga Peninsula, Northern Mindanao, Davao

CARAGA, ARMM, SOCCSARGEN

Lesson 2 Cultural Communities of Mindanao

Paintings During the Spanish Colonization

Paintings Before the Revolution

Printmaking Processes in the Philippines

Lesson 1 Printmaking in the Philippines

Lesson 2 Printmaking Techniques and Processes

Activity 1 Simple Rubbings from Found Objects

Activity 2 Leaf Prints

Activity 3 Prints from Vegetables and Fruits

Activity 4 Stencil Prints

Activity 5 Linocut and Woodcut

THIRD QUARTER: PRINTMAKING AND NEW MEDIA

Printmaking and New Media

Printmaking and New Media

Evolution of Philippine Printmaking

FOURTH QUARTER: SCULPTURE AND VISUAL ARTS IN PHILIPPINES

Lesson 1 Early Forms and Traditional Sculpture

Lesson 2 Sculpture During the Spanish Colonial Period

Lesson 3 Sculpture During the American Period up to the Present

Visual Arts in Philippine Drama and Festivals

Lesson 1 Traditional and Modern Philippine Drama

Philippine Festivals (Luzon, Visayas and Mindanao)

K TO 12 ART for GRADE 7

Artifacts and visual

Describe the visual

Describe the visual

indigenous - native to the place

K TO 12 ART for GRADE 7

ELEMENTS, PRINCIPLES, PROCESSES

Geometric lines - different straight or curved lines

ACTIVITY: RESEARCH, GROUP WORK. CREATE MURAL

1. Assign each group to divide the work: (Session 2)

K TO 12 - ART for GRADE 7

SESSION 3: (1 hr.) PRESENTATION of each group and SYNTHESIS

K-12 ART for GRADE 7

FIRST QUARTER: DRAWING AND PAINTING

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

The folk arts of

The art of mat

The designs of the

Find out why the

K-12 ART for GRADE 7

THE FOLK ARTS OF: ILOCOS REGION, Cordillera Autonomous

TAGALOG, BICOL REGION

ART ELEMENTS, PRINCIPLES:

based on lines and shapes like the square, rectangle,

when a line, shape, color is repeated in a design as

K-12 ART for GRADE 7

a. language spoken in that province

SESSION 3: Students make PRESENTATIONS by groups, with each member