Art100 SCP

ST.
JOHN PAUL II COLLEGE OF DAVAO
COLLEGE OF TEACHER EDUCATION

\ Physically Detached Yet Academically Attached
SIMPLIFIED COURSE PACK (SCP) FOR SELF-DIRECTED

LEARNING
ART100 – TEACHING ARTS IN THE ELEMENTARY

GRADES
This Simplified Course Pack (SCP) is a draft version only and may not
be used, published or redistributed without the prior written consent of
the Academic Council of SJPIICD. Contents of this SCP is only intended
for the consumption of the students who are officially enrolled in the
course/subject. Revision and modification process of this SCP are
expected.
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ST. JOHN PAUL II COLLEGE OF DAVAO
Physically Detached Yet Academically Attached
Vision By 2023, a recognized professional institution providing quality, economically

accessible, and transformative education grounded on the teachings of St. John Paul II.
Serve the nation by providing competent JPCean graduates through quality teaching
Mission and learning, transparent governance, holistic student services, and meaningful
community-oriented researches, guided by the ideals of St. John Paul II.
Respect
Hard Work
Perseverance
Core Values
Self-Sacrifice
Compassion
Family Attachment
Inquisitive
Ingenious
Graduate Attributes
Innovative
Inspiring
Course Code/Title ART100/-TEACHING ARTS IN THE ELEMENTARY GRADES

This course deals with the Educational Foundation of Arts as these aplly to teaching
Course Description and learning in the lementary grades. Various teaching strategies and assessment
appropriate for each areas shall be given emphases in the course
Course Requirement Performance Task (Rubrics,)
Time Frame 54 Hours
“Based 40” Cumulative Averaging Grading System
Grading System
Periodical Grading = Attendance (5%) + Participation (10%) + Quiz (25%) + Exam
(60%)
Final-Final Grade = Prelim Grade (30%) + Midterm Grade (30%) + Final Grade (40%)
Contact Details
Instructor MICHAEL Q. CATARININ (09074491884)
Dean/Program Head
CLASYL NELLAS, PROGRAM HEAD (ELEMENTATY DIVISION)
Course Map
ART100- Simplified Course Pack (SCP)

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SCP- Topics: Final Period

SCP- Topics: Midterm Period
Course Outcomes
1.1 discuss
1. Definition Artthe Educational Foundations of Arts 4.1 Music and Music in the Philipppines
2. elaborate the Different Concepts of Arts Week 4
3. demonstrate the proper application of art, dance and music
4.2 Baroque Period
Week 1 4.Types
1.2 reflect
of Artthe role of art in the society
5. appreciate the importance of art in the society
1.3 Elements and Priciples of Art
5.1 NeoClassic Period
2.1 Art in the Philippines Week 5 5.2 Romanticism Period
Week 2 5.3 Dance and Different Types of Dances

2.2 Arts in the Philippines (Filipino Artists)
2.3 Baroque Art

6.1 Festivals
3.1 NeoClassic Period Week 6

Week 3 6.2 Philippine Folkdance
3.2 Romantic Period
Week 6 Final Examination

Week 3 Midterm Examination
Welcome Aboard! The course deals with the Educational

Foundation of Arts as these apply to teaching and learning in the
lementary grades. Various teaching strategies and assessment
appropriate for each areas shall be given emphases in the course. .
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SCP-TOPICS: PRELIM PERIOD TOPICS
Week 1
1.1 Definition Art
Lesson Title 1.2 Types of Art
1.3 Elements and Priciples of Art
1.1 Define the Definition and Types of Art
Learning Outcome(s)
1.2 Explain the Elements and Principles of Art
Time Frame 9 Hours
At SJPIICD, I Matter!
LEARNING INTENT!
Terms to Ponder
This section provides meaning and definition of the terminologies that are significant for
better understanding of the terms used throughout the simplified course pack of
Art100/Teaching Art in the Elementary Grades. As you go through the labyrinth of learning in
case you will be confronted with difficulty of the terms refer to the defined terms for you to have
a clear picture of the learning concepts.
Art is the expression or application of human creative skill and imagination, typically in a
visual form such as painting or sculpture, producing works to be appreciated primarily for their
beauty or emotional power..
Elements of Art are stylistic features that are included within an art piece to help
the artist communicate. The seven most common elements include line, shape, texture, form,
space, colour and value, with the additions of mark making, and materiality .
Principles of Art represent how the artist uses the elements of art to create an effect
and to help convey the artist's intent. The principles of art and design are balance, contrast,
emphasis, movement, pattern, rhythm, and unity/variety.
Essential Content
Week - 1.1 The Definition Of Art
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What is Art?
Art is a highly diverse range of human activities engaged in creating visual, auditory,
or performed artifacts— artworks—that express the author’s imaginative or technical
skill, and are intended to be appreciated for their beauty or emotional power.
The oldest documented forms of art are visual arts, which include images or objects in
fields like painting, sculpture, printmaking , photography, and other visual media .
Architecture is often included as one of the visual arts; however, like the decorative
arts, it involves the creation of objects where the practical considerations of use are
essential, in a way that they usually are not in another visual art, like a painting.
Art may be characterized in terms of mimesis (its representation of reality), expression,

communication of emotion, or other qualities. Though the definition of what
constitutes art is disputed and has changed over time, general descriptions center on
the idea of imaginative or technical skill stemming from human agency and creation.
When it comes to visually identifying a work of art, there is no single set of values or
aesthetic traits. A Baroque painting will not necessarily share much with a
contemporary performance piece, but they are both considered art.
Despite the seemingly indefinable nature of art, there have always existed certain
formal guidelines for its aesthetic judgment and analysis. Formalism is a concept in
art theory in which an artwork’s artistic value is determined solely by its form, or how
it is made. Formalism evaluates works on a purely visual level, considering medium
and compositional elements as opposed to any reference to realism , context, or
content.
Art is often examined through the interaction of the principles and elements of art.

The principles of art include movement, unity, harmony, variety, balance, contrast,
proportion and pattern. The elements include texture, form, space, shape, color,
value and line. The various interactions between the elements and principles of art
help artists to organize sensorially pleasing works of art while also giving viewers a
framework within which to analyze and discuss aesthetic ideas.
Art can function therapeutically as well, an idea that is explored in art therapy. While
definitions and practices vary, art therapy is generally understood as a form of therapy
that uses art media as its primary mode of communication. It is a relatively young
discipline, first introduced around the mid-20th century.
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Historically,
the fine arts were meant to appeal to the human intellect, though currently there are
no true boundaries. Typically, fine art movements have reacted to each other both
intellectually and aesthetically throughout the ages. With the introduction of
conceptual art and postmodern theory, practically anything can be termed art. In
general terms, the fine arts represent an exploration of the human condition and the
attempt to experience a deeper understanding of life .
Week - 1.2 The Types Of Art
What are the Types of Art?
Art has been used as a means to express oneself since ancient times. Do you remember
reading about drawings and paintings that were discovered in caves? Humans have been
using art to express themselves ever since early man first learned that he could use different
substances to mark trees and cave walls.
Art speaks for the person without using words. You can tell what a person likes just by
looking at the type of art they have displayed in their home. For example, if someone has
sports-related art hanging on the walls of their home, they are most likely to be a lover of
sports. Similarly, if a person has a lot of scenic images displayed on the walls of their home,
they are most likely nature lovers. Did they tell you that? No, their art display did! That’s the
power of art in homes.
Apart from defining people, art plays a major role in the décor of a place. It can serve as
a focal point for your home. By focal point, what we mean is a point that automatically draws
your focus and attention when you enter a room. The power of art draws people to itself.
Fine Art
Fine art is a form of art that is known for its beauty and aesthetic value rather than its
functional value, which distinguishes it from applied art and decorative art. This type of art
includes paintings, drawings, printmaking, and sculptures. Fine art is a wide umbrella that
encompasses many different types of arts under its shadow.
Visual Art
Visual art includes all types of artwork that has a visual impact, including ceramics,
sculptures, crafts, photography, painting, drawing, film-making, and architecture. Applied
arts such as graphic design, industrial design, interior design, fashion design, and decorative
art can also be included in visual art.
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Plastic Art
Plastic art includes three-dimensional art, including sculptures and ceramics. It consists of
any art that involves sculpting, modeling, and carving.
Plastic Art
Plastic art includes three-dimensional art, including sculptures and ceramics. It consists of
any art that involves sculpting, modeling, and carving.
Decorative Art
This is a type of art that involves the design and ornamentation of functional items and does
not always have intrinsic aesthetic qualities. The term decorative art is often used
synonymously with crafts. Moreover, it forms a major category of applied art.
Abstract Art
Abstract Art has been around for more than 100 years. You may either like it, hate it, or
spend a lot of time trying to decipher what it is trying to tell you. In the literal
meaning, abstract art means to distance an idea from any objective referents.
To help you get a better understanding of abstract art, let’s look at it in another way. In visual
art, art involves visual representations of ideas using references that can be easily understood.
However, in abstract art, visualization does not involve objective reference points that can be
understood instantly.
The reason why abstract art is so popular in homes is because of its ability to inspire curiosity
and stimulate the imagination.
Example of Abstact Art
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Modern Art
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Modern Art can be traced back to the mid 18th century when there were rapid changes and
developments in technology, manufacturing, and transportation. With different technological
developments, art went through a revolution and strayed from the traditional styles and
techniques, giving birth to a new type of art – modern art.
Modern art is one of the most commonly used types of art in homes today, as it is extremely
captivating. Modern art is quite tricky to define as it is not exactly an art style but rather a
period of time (the 1860s to 1970s).
Modern art embraces a wide array of strong colors, forms, and lines, and applies a fresh
perspective to almost all aspects of existence. It brings life to any interior with
its bold designs and colors. If you have a simple interior with blank walls, incorporating
modern art is the best thing you can do. Modern art catches the attention and lifts the mood
of the entire room!
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Pop Physically Detached Yet Academically Attached Art
Pop Art uses imagery of mass media such as movie stars, advertising, news, comic books, and
popular culture. It emerged after World War I. With paintings and sculptures of media stars
and culture objects, pop art blurred the line between high art and low culture. It follows the
concept that there is no hierarchy in culture. It also goes by the idea that art can be borrowed
from any source, which is one of the most prominent characteristics of this art form.
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People Physically Detached Yet Academically Attached of
all age groups
enjoy pop art. It makes the décor of any room pop out, whether it is your child’s bedroom, a
man cave, a woman’s retreat, or a living room. Pop art has the ability to speak a language
which all generations can understand. With its blend of bold colors and realistic visualization,
pop art is sure to become the highlight of any room.
Pop art is highly versatile, making it suitable to be incorporated in any room of the house. Its
versatility, attraction, and its impact make it one of the most favorite types of art that people
add to their homes.
Cubism
Cubis was an art movement that emerged in the early 20th century. It is one of the most
influential art movements of all times and continues to be a source of inspiration for artists
even today. It was a turning point in the evolution of modern art. It paved the way for
pure abstract art. Future movements like Dada (Dadaism), Futurism, Surrealism, and
Constructivism were all inspired by Cubism.
In the Cubism form of art, the subject of the picture is usually discernible. It does not include
a connection with nature. Cubism does not make use of traditional techniques and
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emphasizes
two- dimensional
designs. The objects painted in this style are usually reduced to geometric forms and are then
realigned within a shallow space.
Contemporary Art
Contemporary Art is the style of the present that is forever changing, and it isn’t wrong to say
that contemporary art is essential ‘the making of new art.’ Some artists say that art created in
the last two to ten years can be considered as contemporary art.
The term contemporary art is used interchangeably with Modern art quite often. As much as
we think that the term modern means ‘the in-thing,’ it actually refers to the time period from
the 19th century to the 1960s.
Contemporary art includes innovative and fresh works that use cutting-edge media and new
technology. This is the reason why contemporary art seems to challenge our intellect and
senses.
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Impressionism Art
Impressionism Art was an entirely new concept. It developed as a formal practice of art in
Paris in the 1860s and then spread throughout the US and Europe. Most painters back in the
time used to paint in studios, their work surrounding mythological, historical, and allegorical
scenes. Impressionism, on the other hand, focused on capturing the impression of a particular
instant.
Impressionism art was not produced in the studio but on the streets where the painters
captured the transient and momentary effects of the sunlight on their subject. The open-air
settings that these painters worked in resulted in artwork that had greater effects of color and
light. This art was produced in front of the subjects, capturing them in that very moment.
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Surealism Art
Surealism is a form of expression that clearly surpasses realism. The goal of surrealism is to
liberate language, thought, and human experience from the boundaries of rationalism.
Surrealism art is all about letting the imagination go wild. A lot of people call this type of art a
weird form of art since it surpasses reality and creates art that is beyond practicality.
Surrealism art is not as common as other types of art, but it is still among the most loved
types of art. It makes great wall art for living rooms, owing to the bold colors and a depiction
of unrealistic images in a fun way. Surrealism art can also be seen at office spaces as well,
where the employees are encouraged to let their creativity flow!
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Graffiti Art
Graffiti Art is more commonly known as street art. It is the form of free art that you often see
in public areas like buildings and public transport. It was after the 1960s that the craze
developed for decorating the environment by using markers and spray paints. It emerged in
Philadelphia and New York, and it is strongly linked to hip hop culture .
It was first used as a means to express frustration with life. Common materials used were
spray paints, markers, stencils, and acrylics. All types of surfaces were used as canvases,
including billboards, the walls of public properties, subways, and anywhere a blank space was
seen. Today, graffiti art is considered vandalism in most countries. However, you can always
let your emotions flow on a canvas, no matter how intense they are.
Calligraphy
Calligraphy is a type of art in which beautiful symbols are made and arranged by hand. It is a
set of techniques and skills that are needed to position and inscribe words in such a way that
they show integrity, rhythm, harmony, and some sort of ancestry.
It was first seen in Chinese art. It is a type of fine art that is characterized by styled writing.
The words are styled into expressive images so beautifully that it almost looks like a drawing.
Calligraphy is not just beautiful handwriting. In fact, it is a lot more than that. It requires
decades of study and practice to become a primary at it.
Calligraphy art is more commonly practiced in the Far East by Islamic artists. In China, it is
considered as the highest form of art. Calligraphy art is intricate, delicate, and extremely
elegant. It adds beauty to an otherwise plain wall.
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Mosaic Physically Detached Yet Academically Attached Art
Mosaic art is an incredible type of art that is a very popular choice for homeowners. Mosaic art
involves arranging numerous tiny pieces of colored tiles. The results that you get from mosaic
art are breathtakingly beautiful.
There are numerous ways in which you can incorporate mosaic art in your home. You can
make a mosaic wall or you can make mosaic decorative pieces. Incorporating art in homes
does not only mean wall art. Art can take any form, whether it’s on the walls, the furniture, or
other accessories that you have in your home.
You could place mosaic pots on your staircase, or you could even make a mosaic nameplate.
Mosaic art is highly versatile, and there is no limit to what you can make when you’re dealing
with this art form. You can use it whatever way you like!
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Sculpture Art
Sculpture art is a rather fancy type of art that is not seen commonly in most homes. Since it
falls on the expensive side, not everyone can afford it. However, sculpture art is one of the
strongest and the most powerful types of art that you can add to your home.
With sculpture art, the interior looks lavish. If you are looking to decorate your home to make
it look fancy, sophisticated, and classy, we recommend that you incorporate some form of
sculpture art. A sculpture in your home is sure to grab the attention of your visitors!
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Week Physically Detached Yet Academically Attached
- 1.3
The Elements
and Principles of Art
What are Elements and Principles of Arts?
The visual art terms separate into the elements and principles of art. The elements of
art are color, form, line, shape, space, and texture. The principles of art are scale,
proportion, unity, variety, rhythm, mass, shape, space, balance, volume, perspective,
and depth. In addition to the elements and principles of design, art materials include
paint, clay, bronze, pastels, chalk, charcoal, ink, lightening, as some examples. This
comprehensive list is for reference and explained in all the chapters. Understanding
the art methods will help define and determine how the culture created the art and for
what use.
Over the years, art methods have changed; for example, the acrylic paint used today is
different from the cave art earth-based paint used 30,000 years ago. People have
evolved, discovering new products and procedures for extracting minerals from the
earth to produce art products. From the stone age, the bronze, iron age, to the
technology age, humans have always sought out new and better inventions. However,
access to materials is the most significant advantage for change in civilizations. Almost
every civilization had access to clay and was able to manufacture vessels. However, if
specific raw materials were only available in one area, the people might trade with
others who wanted that resource. For example, on the ancient trade routes, China
produced and processed the raw silk into stunning cloth, highly sought out by the
Venetians in Italy to make clothing.
The art methods are considered the building blocks for any category of art. When an
artist trains in the elements of art, they learn to overlap the elements to create visual
components in their art. Methods can be used in isolation or combined into one piece
of art (1.24), a combination of line and color. Every piece of art has to contain at least
one element of art, and most art pieces have at least two or more.
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Elements of Art
Color: Color is the visual perception seen by the human eye. The modern color wheel
is designed to explain how color is arraigned and how colors interact with each other.
In the center of the color wheel, are the three primary colors: red, yellow, and blue.
The second circle is the secondary colors, which are the two primary colors mixed. Red
and blue mixed together form purple, red, and yellow, form orange, and blue and
yellow, create green. The outer circle is the tertiary colors, the mixture of a primary
color with an adjacent secondary color.
Color contains characteristics, including hue, value, and saturation. Primary hues are
also the primary colors: red, yellow, and blue. When two primary hues are mixed, they
produce secondary hues, which are also the secondary colors: orange, violet, and
green. When two colors are combined, they create secondary hues, creating additional
secondary hues such as yellow-orange, red-violet, blue-green, blue-violet, yellow-
green, and red-orange.
Value: refers to how adding black or white to color changes the shade of the original
color, for example, in (1.26). The addition of black or white to one color creates a
darker or lighter color giving artists gradations of one color for shading or highlighting
in a painting.
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Saturation: the intensity of color, and when the color is fully saturated, the color is
the purest form or most authentic version. The primary colors are the three fully
saturated colors as they are in the purest form. As the saturation decreases, the color
begins to look washed out when white or black is added. When a color is bright, it is
considered at its highest intensity.
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Form: Fo
rm gives shape to a
piece of art, whether it is the constraints of a line in a painting or the edge of the
sculpture. The shape can be two-dimensional, three-dimensional restricted to height
and weight, or it can be free-flowing. The form also is the expression of all the formal
elements of art in a piece of work.
Line: A line in art is primarily a dot or series of dots. The dots form a line, which can vary in
thickness, color, and shape. A line is a two-dimensional shape unless the artist gives it volume
or mass. If an artist uses multiple lines, it develops into a drawing more recognizable than a
line creating a form resembling the outside of its shape. Lines can also be implied as in an
action of the hand pointing up, the viewer's eyes continue upwards without even a real line.
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Shape: The shape of the artwork can have many meanings. The shape is defined as having
some sort of outline or boundary, whether the shape is two or three dimensional. The shape
can be geometric (known shape) or organic (free form shape). Space and shape go together in
most artworks.
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Space: Space is
the area around the focal point of the art piece and might be positive or negative, shallow or
deep, open, or closed. Space is the area around the art form; in the case of a building, it is the
area behind, over, inside, or next to the structure. The space around a structure or other
artwork gives the object its shape. The children are spread across the picture, creating space
between each of them, the figures become unique.
Texture: Texture can be rough or smooth to the touch, imitating a particular feel or

sensation. The texture is also how your eye perceives a surface, whether it is flat with little
texture or displays variations on the surface, imitating rock, wood, stone, fabric. Artists added
texture to buildings, landscapes, and portraits with excellent brushwork and layers of paint,
giving the illusion of reality.
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Principles of
Art
Balance: The balance in a piece of art refers to the distribution of weight or the apparent
weight of the piece. Arches are built for structural design and to hold the roof in place,
allowing for passage of people below the arch and creating balance visually and structurally. It
may be the illusion of art that can create balance.
Contrast: Contrast is defined as the difference in colors to create a piece of visual art. For
instance, black and white is a known stark contrast and brings vitality to a piece of art, or it
can ruin the art with too much contrast. Contrast can also be subtle when using
monochromatic colors, giving variety and unity the final piece of art.
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Emphasis: Emphasis can be color, unity, balance, or any other principle or element of art
used to create a focal point. Artists will use emphasis like placing a string of gold in a field of
dark purple. The color contrast between the gold and dark purple causes the gold lettering to
pop out, becoming the focal point.
Rhythm/Movement: Rhythm in a piece of art denotes a type of repetition used to either

demonstrate movement or expanse. For instance, in a painting of waves crashing, a viewer will
automatically see the movement as the wave finishes. The use of bold and directional
brushwork will also provide movement in a painting.
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Proportion/Scale: Proportion is the relationship between items in a painting, for example,

between the sky and mountains. If the sky is more than two-thirds of the painting, it looks out
of proportion. The scale in art is similar to proportion, and if something is not to scale, it can
look odd. If there is a person in the picture and their hands are too large for their body, then it
will look out of scale. Artists can also use scale and proportion to exaggerate people or
landscapes to their advantage.
Unity and variety: In art, unity conveys a sense of completeness, pleasure when viewing the
art, and cohesiveness to the art, and how the patterns work together brings unity to the
picture or object. As the opposite of unity, variety should provoke changes and awareness in
the art piece. Colors can provide unity when they are in the same color groups, and a splash
of red can provide variety.
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Pattern: Pattern is the way something is organized and repeated in its shape or form and can
flow without much structure in some random repetition. Patterns might branch out similar to
flowers on a plant or form spirals and circles as a group of soap bubbles or seem irregular in
the cracked, dry mud. All works of art have some sort of pattern even though it may be hard
to discern; the pattern will form by the colors, the illustrations, the shape, or numerous other
art methods.
SELF-SUPPORT: You can click the URL Search Indicator below to help you further understand the lessons.
Search Indicator
Stephen Davies (1991). Definitions of Art. Cornell University Press. ISBN 978-0-8014-9794-0.
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Robert Physically Detached Yet Academically Attached
Stecker
(1997). Artworks: Definition, Meaning, Value. Pennsylvania State University Press. ISBN 978-
0-271-01596-5.
Noël Carroll, ed. (2000). Theories of Art Today. University of Wisconsin Press. ISBN 978-0-
299-16354-9.
LET’S INITIATE!
Activity 1.1: Let us try to check your understanding of the topics.
1. Explainthe word art in your own opinion.

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2. When can you say that art can function therapeutically?

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3. How would you values education in teaching art in elementary students?
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LET’S INQUIRE!
Activity 1.1: In this activity, you are required to expound your answer to each of the
questions below.
1. How would you classify the different eleeemnts of arts?

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2. Give a distinction between elements and principles of arts.

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_______________________________________________________________
LET’S INFER!
Activity 1.1: Create an organizer which shows the concept about the principles
and elements of arts.
LET’S INITIATE!
Activity 1.2: Let us try to check your understanding of the topics. Write your answers
to the space provided below every after the questions.
1. What does it mean by art types?

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2. How would you classify the different art types?
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3. Cite at least two (2) evidences which prove that the types of arts evolves?
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LET’S INQUIRE!
questions below.
1. What if you could start an artshop, knowing you couldn't fail? Would you take
the chance? Justify your response.
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2. Physically Detached Yet Academically Attached If
you
were an artist, how would you apply the different types of arts in an artwork?
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LET’S INFER!
Activity 1.2: Create an artwork wherein you can apply the different types of arts.
Explain it in 5 sentences.
LET’S INITIATE!
Activity 1.3: Let us try to check your understanding of the topics. Write your answers to the
space provided below every after the questions.
1. Explain the role of Elements of Arts in Art making.

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2. Name at least three (3) Principles and elements of arts and explain each Principle
and element.
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3. Cite three (3) masterpiece of different artists Nationally and Internationally wherein
these masterpiece applied both principles and elements of art.
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LET’S INQUIRE!
Activity 1.3: In this activity, you are required to expound your answer to
each of the questions below.
1. Why is there a need for an artist to integrate the principles and elements of arts in art
making ?
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2. If you are
given a chance to
create a masterpiece, what would it be and why?
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LET’S INFER!
Activity 1.3: Create an organizer discussing the concept of the Principles and
Elements of Art.
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Week 2
2.1 Art in the Philippines
Lesson Title 2.2 Arts in the Philippines (Filipino Artists)
2.3 Baroque Art
1. Discuss the art in the Philippines and Filipino Artisits
Learning Outcome(s)
2. Explain Baroque Art
Time Frame
LEARNING INTENT!
Terms to Ponder
Arts in the Philippines- refer to all the various forms of the arts that have developed and
accumulated in the Philippines from the beginning of civilization in the country up to the
present era. They reflect the range of artistic influences on the country's culture, including
indigenous forms of the arts, and how these influences have honed the country's arts.
These arts are divided into two distinct branches, namely, traditional arts and non-
traditional arts. Each branch is further divided into various categories with subcategories.
Baroque Art- style is characterized by exaggerated motion and clear detail used to
produce drama, exuberance, and grandeur in sculpture , painting, architecture,
literature, dance, and music. The later Baroque style was termed Rococo , a style
characterized by increasingly decorative and elaborate works.
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Essential Content
Week - 2.1 Arts in the Philippines
Arts in the Philippines?
Arts in the Philippines refer to all the various forms of the arts that have developed and
accumulated in the Philippines from the beginning of civilization in the country up to the
present era. They reflect the range of artistic influences on the country's culture, including
indigenous forms of the arts, and how these influences have honed the country's arts.
The National Commission for Culture and the Arts, the official cultural agency of the
government of the Philippines, has categorized Filipino arts into traditional and non-
traditional. Each category are split into various arts, which in turn have sub-categories of
their own.
(A) Traditional arts
Folk architecture – including, but not limited to, stilt houses, land houses, and aerial houses
Maritime transport – boat houses, boat-making, and maritime traditions
Weaving – including, but not limited to, basket weaving, back-strap loom weaving, headgear
weaving, fishnet weaving, and other forms of weaving
Carving – including, but not limited to, woodcarving and folk non-clay sculpture
Folk performing arts – including, but not limited to, dances, plays, and dramas
Folk (oral) literature – including, but not limited to, epics, songs, and myths
Folk graphic and plastic arts – including, but not limited to, calligraphy, tattooing, folk writing, folk
drawing, and folk painting
Ornament, textile, or fiber art – hat-making, mask-making, accessory-making, ornamental metal

crafts
Pottery – including, but not limited to, ceramic making, clay pot-making, and folk clay sculpture
Other artistic expressions of traditional culture – including, but not limited to, non-ornamental
metal crafts, martial arts, supernatural healing arts, medicinal arts, and constellation traditions
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(B) Non-traditional arts
Dance – including, but not limited to, dance choreography, dance direction, and dance
performance
Music – including, but not limited to, musical composition, musical direction, and musical
performance
Theater – including, but not limited to, theatrical direction, theatrical performance,
theatrical production design, theatrical light and sound design, and theatrical playwriting
Visual arts – including, but not limited to painting, non-folk sculpture, printmaking,
photography, installation art, mixed media works, illustration, graphic arts, performance
art, and imaging
Literature – including, but not limited to, poetry, fiction, essay, and literary/art criticism
Film and broadcast arts – including, but not limited to, film and broadcast direction, film and
broadcast writing, film and broadcast production design, film and broadcast cinematography,
film and broadcast editing, film and broadcast animation, film and broadcast performance, and
film and broadcast new media
Architecture and allied arts – including, but not limited to, non-folk architecture, interior design,
landscape architecture, and urban design
Design – including, but not limited to, industrial design, and fashion design
Museums are important vessels for the protection and conservation of Philippine arts. A
number of museums in the Philippines possess works of art that have been declared as
National Treasures, notably the National Museum of the Philippines in Manila. Other
notable museums include Ayala Museum, Negros Museum, Museo Sugbo, Lopez Museum,
and Metropolitan Museum of Manila. University museums also hold a vast array of
art. Libraries and archives are also important, among the most known are the National
Library of the Philippines and the National Archives of the Philippines. Various
organizations, groups, and universities have also conserved the arts, especially the
performing and craft arts.
Many conservation measures have been undertaken by both private and public institutions
and organizations in the country, in addressing the heritage management in the
Philippines. The enactment of laws such as the National Cultural Heritage Act have aided in
Filipino art conservation. The act also established the country's repository of all culturally-
related heritage, the Philippine Registry of Cultural Property.
The National Commission for Culture and the Arts is currently the official cultural arm of
the Philippine government. There have been proposals to establish a Philippine Department
of Culture
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Essential Content
Week - 2.2 Filipino Artists
Filipino Artistists?
10 MOST FAMOUS FILIPINO ARTISTS AND THEIR MASTERPIECES
The art of the Philippines is reflective of the diversity,

richness and uniqueness of Filipino culture. It began during the pre-historic era which is
signified by the various paintings and artworks found on the walls of the caves discovered
throughout the region. However, Filipino Art, as we know today, began with colonization of
the region by Spain in the early 16th century. The Spanish introduced Christianity to
Philippines and art of the period was majorly influenced by religion. It thus
reflects the religious propaganda through the country. Art played a significant role in the
spread of Catholicism in the Philippines. From the 16th century till the 19th century, art in
the Philippines was created primarily for the benefit and spread of Christianity. Change was
seen in the early 19th century, when native people of the Philippines educated themselves.
This change in education was also reflected in the art produced during that time. Among
other things, there was a shift in focus from the church to the native culture of the
country which included local landscapes, native fashion, jewelry and furniture. Another
major change in Filipino art came during and after the Second World War. For many artists,
the focus shifted from the native culture to the effects of the war. Painters started
depicting battle scenes, death and the resulting suffering. Artists from the Philippines have
continued to contribute to contemporary art of the world while experimenting with modern
ways of expression. Here are the 10 most famous Filipino artists and their masterpieces.
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#10
PACITA ABAD
Lifespan: October 5, 1946 – December 7, 2004
Gwendolyn Caffritz Award in 1992. Among other things, Pacita Abad is renowned for

her eccentric use of color in her paintings. Some other unique features of her
paintings included underwater scenes, along with wild animals and tropical flowers.
She managed to highlight the constant changes and developments going on in the
world around her. Her paintings are a reflection of her travels all over the world. After
briefly studying painting in New York and Washington D.C., she went on to travel
over 80 countries around the world. Her travels and her experiences with different
people and cultures from various parts of the world had a major influence on her style
of painting. In 1970s and 1980s, her work was majorly inspired by painters like Ben
Shahn, which led her to create paintings which inspired political and social thought.
Abad received several awards during her lifetime. In 1984, she became the first
woman to win the Ten Outstanding Young Men (TOYM) Award. Additionally, she also
won the D.C. Commission on the Arts Award in 1989 and 1990 and the
Other Famous Works:-
Fly me to the moon (2000)
I Put A Spell On You (1997)
Masterpiece: Underwater Wilderness Series (1986)
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#9 HERNANDO R. OCAMPO
Lifespan: April 28, 1911 – December 28, 1978
A self-taught artist, Hernando Ruiz Ocampo majorly followed modernist

traditions throughout his art career and highlighted his work by using extremely bold
color palettes. His work was also inspired by science fiction writing and the Filipino
landscape, which he portrayed by using biomorphic shapes. As a radical modernist
artist, Ocampo was part of a group found by Victorio C. Edades, which was known as
the Saturday Group of Artists or Taza de Oro Group. His work portrayed the extremely
harsh realities of the world he lived in. Moreover, through his paintings, he depicted
the colossal impact of the Second World War. Towards the second half of his artistic
career, he moved on to abstract forms of painting. He was credited for the invention of
an abstract form which used the native flora and fauna of the Philippines and spatial
elements such as the sun and the stars to portray the abstract forms of life. In 1965,
he won the Republic Central Award. Moreover, in 1991, Hernando R.
Ocampo was posthumously awarded the title of National Artist of the Philippines.
Masterpiece: Genesis (1968)
Man and Carabao (1950)
Calvary (1948)
#8 NAPOLEON ABUEVA
Lifespan: January 26, 1930 – February 16, 2018
One of the most famous Filipino sculptors, Napoleon Veloso Abueva, was one of
the youngest recipients of the National Artist for Sculpture title in the
year 1976. Among other things, Abueva is known as the Father of Modern Philippine
Sculpture. He is credited for shaping the art of sculpture in his country. Abueva used
numerous types of material to create sculpture masterpieces including marble,
bronze, iron, stainless steel, hard wood, cement, adobe, coral and alabaster. Among
one of his early innovation in his field was “buoyant sculpture”, which according to
him was something to be viewed from the surface of a pool. He is famously known for
being
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the first Filipino artist for putting up a one-man sculptural exhibit in the

Philippine Center in New York in the year 1980. He was awarded the Ten Outstanding
Young Men of the Philippines Award (TOYM) in 1959 and the ASEAN Award for Visual
Arts in the year 1987.
Masterpiece: Kaganapan (1953)
Kiss of Judas (1955)
Allegorical Harpoon (1964)
#7 ANG KIUKOK
Lifespan: March 1, 1931 – May 9, 2005
A man of Chinese descent, Ang Kiukok is most famous for his expressive artwork.

Almost all his paintings have one thing in common: an extremely disturbing subject
matter. With a dynamic profile, his paintings have been known to depict death;
crucifixions; and tortured and screaming figurines; which portray the dull and bleak
reality of life. Kiukok was a critically as well as commercially successful painter and
his paintings have had a high viewership. The decade of 1970s, when Philippines was
under martial law, was the time when he made some of his
extremely grueling paintings. Apart from his subject matter, Kiukok is renowned for
his extremely unique style of painting, which was a mixture of Cubism,
Expressionism and Surrealism. It was due to his style that he first gained fame and
prominence in the 1960s. Ang Kiukok was named the National Artist for Visual Arts in
the Philippines in the year 2001.
Masterpiece: Watermelon (1987)
The Fishermen (1981)
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Angry
Figure (1982)
#6 VICTORIO EDADES
Lifespan: December 23, 1895 – March 7, 1985
Victorio Edades was a revolutionary artist, who was the leader of the Thirteen

Moderns, a group of artists who believed and promoted Modernism in artwork.
A traveling exhibition from the New York Armory Hall was what inspired Edades to
follow and appreciate modern art. Through the exhibition, he got inspired by some of
the Modern European artists including Gaugin, Picasso and Matisse and felt a pull
towards Modernism and Surrealism. He believed that Modernism allowed artists to
experiment with art and encouraged artistic expression and freedom. One of
his most famous paintings, The Sketch (1927) won the second prize in the Annual
Exhibition of North American Artists. However, his ideas of modern art were not easily
accepted in the Philippines. He had to struggle to bring a change in the conventions of
domestic art in his nation. Nonetheless his contribution was recognized and he was
bestowed with the honor of National Artists of the Philippines in Visual Arts
(Painting) in 1976.
Masterpiece: The Builders (1928)
The Sketch (1928)
Mother and Daughter (1926)
#5 VICENTE MANANSALA
Lifespan: January 22, 1910 – August 22, 1981
Vicente Manansala was a prodigious artist who received a six-month grant from

UNESCO and was invited to study at the Ecole des Beaux-Arts in Quebec, Canada. He
is most commonly known for his Cubist paintings, prints and illustration. He was a
member of the Thirteen Moderns, which was led by Victorio Edades. As a neo-realist,
he became one of the few artists who were responsible for the modernist movement in
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the
country. Primarily,
his work was focused on the issues and the problems of the world. Along with this,
the Second World War had a great impact on his paintings. National culture, social
environment, identity and native sensibility became the epicenter of his works. Along
with this, he also worked on some abstract pieces but his main focus remained on
using art as a social commentary. Manansala held his first solo exhibition in the year
1951 at the Manila Hotel. His work had an immense influence on the next generation
of painters which included Manuel Baldemor and Angelito Antonio. The Honolulu
Museum of Art, the Lopez Memorial Museum, Manila and the Philippine Center in New
York hold some of his most famous works. He was posthumously awarded the Order
of National Artists of the Philippines in Visual Arts (Painting) in the year 1981.
Masterpiece:- Madonna of the Slums (1950)
The Bird Seller (1976)
Jeepneys (1951)
#4 BENEDICTO CABRERA
Born: April 10, 1942
Benedicto Reyes Cabrera, is regarded as the bestselling painter of his generation of

Filipino artists. He was introduced to art by his elder brother Salvador, who
was also an established painter. While studying at the University of Philippines, he
explored various forms of art which
included printmaking and photography. He eventually established his own unique
form of painting. Cabrera’s work is essentially figurative and he uses fabrics and
patterns to bring to life the figures in his paintings. His work is majorly focused on
women, but sometimes also depicts men. In the year 1963, he won the first prize in a
student competition for one of his oil painting which is known as the talipapa or
a market. His first exhibition of paintings was held in Mabini in the year 1965. After
that, he has had exhibitions in New York, London, Paris and in various other cities.
Cabrera was awarded the Order of National Artists of the Philippines in Visual Arts
(Painting) in the year 2006. He is perhaps the most famous living artist in the
Philippines.
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Other
Famous Works:-
Edo Gesture (1981)
The Oriental Fan (1982)
Masterpiece: Sabel in Blue (1969)
#3 GUILLERMO TOLENTINO
Lifespan: July 24, 1890 – July 12, 1976
Guillermo Estrella Tolentino, is most famous for his work The Bonifacio Monument,

which became the symbol of the freedom struggle of the Philippines. He was said to be
a product of the Filipino Art’s revival period of the early and mid-20th century. He was
also credited for making the statues of President Quezon and various other life-size
busts and marble statues of important figures in the history of Philippines. Some of
his smaller sculptors are kept and displayed at the National Museum of Fine
Arts. Tolentino designed the seal of the Republic of the Philippines and has also been
recognized for designing the gold and the bronze medal for the Ramon Magsaysay
Award. He was awarded the Order of National Artists of the Philippines in Visual Arts
(Sculpture) in 1973. Along with this, he had also won the UNESCO Cultural Award in
Sculpture in 1959, Patnubay ng Sining at Kalinangan Award in 1963, the Republic
Cultural Heritage award in 1967 and the Presidential Medal of Merit in 1970.
Masterpiece: Bonifacio Monument (1933)
Oblation (1931)
Pax: Statue (1919)
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#2 JUAN LUNA
Lifespan: October 24, 1857 – December 7, 1899
Juan Luna de San Pedro y Novicio Ancheta, who was more commonly known as Juan
Luna, is regarded as one of the first internationally renowned Filipino artist. Along
with being an artist, he was also a widely known political activist of the Philippine
Revolution of the late 19th century. Luna was as one of the first recognized painter
and artist in the Philippines. His work was focused on the European academics of his
time and therefore, included a lot of depiction of historical and literary scenes. Along
with this, there was an underlining of political and social commentary in his works
which is highlighted by a slight touch of Romanticism. Theatrical scenes and dramatic
poses were also on the forefront of Luna’s work. His paintings are
generally pronounced, conspicuous and vigorous. One of his most famous
paintings, Spoliarium (1884), was taken to Exposición Nacional de Bellas Artes in
Madrid, where Luna was the first recipient of the three gold medals awarded in the
exhibition.
Masterpiece: Spoliarium (1884)
The Blood Compact (1886)
The Death of Cleopatra (1881)
#1 FERNANDO AMORSOLO
Lifespan: May 30, 1892 – April 24, 1972
Fernando Amorsolo spent his childhood in a small town which became the foundation
for his artistic career. Having lost his father at the age of 11, his mother worked to
make ends meet. At 13, Amorsolo became an apprentice to De la Rosa and from there
he began his painting career. He is most famous for his mastery over playing with
light. Thus his most well-known style and technique of painting includes illuminated
landscapes, which were used to portray the culture, history and the native life of
Filipinos. Amorsolo is credited for inventing the ‘backlighting’ technique which he used
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to highlight the natural light in his paintings. This technique became his

trademark and is considered one of his greatest contribution to the Filipino painting
culture. Along with this, Amorsolo also made sketches, historical
paintings and portraits. During and after the Second World War, his primary style of
painting shifted from landscapes to portraying the gruesome nature of war
and its devastating effects on the lives of Filipino people. Some of his awards and
achievements include the Outstanding University of Philippines Alumnus
Award in 1940, a gold medal by UNESCO National Commission in 1959 and
the Republic Cultural Heritage Award in 1963. Fernando Amorsolo is the most famous
artist from the Philippines.
Masterpiece: Rice Planting (1951)
Fruit Gatherer (1950)
Sunday Morning Going to Town (1958)
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Essential Content
Week - 2.3 Baroque Art
What is Baroque Art?
Definition: What is Baroque Art?
In fine art, the term Baroque (derived from the Portuguese 'barocco' meaning,
'irregular pearl or stone') describes a fairly complex idiom, originating in Rome, which
flowered during the period c.1590-1720, and which embraced painting, and sculpture
as well as architecture. After the idealism of the Renaissance (c.1400-1530), and the
slightly 'forced' nature of Mannerism (c.1530-1600), Baroque art above all reflected the
religious tensions of the age - notably the desire of the Catholic Church in Rome (as
annunciated at the Council of Trent, 1545-63) to reassert itself in the wake of the
Protestant Reformation. Thus it is almost synonymous with Catholic Counter-
Reformation Art of the period.
Many Catholic Emperors and monarchs across Europe had an important stake in the
Catholic Church's success, hence a large number of architectural designs, paintings
and sculptures were commissioned by the Royal Courts of Spain, France, and
elsewhere - in parallel to the overall campaign of Catholic Christian art, pursued by
the Vatican - in order to glorify their own divine grandeur, and in the process
strengthen their political position. By comparison, Baroque art in Protestant areas like
Holland had far less religious content, and instead was designed essentially to appeal
to the growing aspirations of the merchant and middle classes.
Styles/Types of Baroque Art
In order to fulfill its propagandist role, Catholic-inspired Baroque art tended to be

large-scale works of public art, such as monumental wall-paintings and huge frescoes
for the ceilings and vaults of palaces and churches. Baroque painting illustrated key
elements of Catholic dogma, either directly in Biblical works or indirectly in
mythological or allegorical compositions. Along with this monumental, high-minded
approach, painters typically portrayed a strong sense of movement, using swirling
spirals and upward diagonals, and strong sumptuous colour schemes, in order to
dazzle and surprise. New techniques of tenebrism and chiaroscuro were developed to
enhance atmosphere. Brushwork is creamy and broad, often resulting in
thick impasto. However, the theatricality and melodrama of Baroque painting was not
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well
received by later critics, like the influential John Ruskin (1819-1900), who considered
it insincere. Baroque sculpture, typically larger-than-life size, is marked by a similar
sense of dynamic movement, along with an active use of space.
Baroque architecture was designed to create spectacle and illusion. Thus the straight
lines of the Renaissance were replaced with flowing curves, while domes/roofs were
enlarged, and interiors carefully constructed to produce spectacular effects of light
and shade. It was an emotional style, which, wherever possible, exploited the
theatrical potential of the urban landscape - as illustrated by St Peter's Square (1656-
67) in Rome, leading up to St Peter's Basilica. Its designer, Bernini, one of the
greatest Baroque architects, ringed the square with colonnades, to convey the
impression to visitors that they are being embraced by the arms of the Catholic
Church.
As is evident, although most of the architecture, painting and sculpture produced

during the 17th century is known as Baroque, it is by no means a monolithic style.
There are at least three different strands of Baroque, as follows:
(1) Religious Grandeur
A triumphant, extravagant, almost theatrical (and at times) melodramatic style
of religious art, commissioned by the Catholic Counter Reformation and the courts of
the absolute monarchies of Europe. This type of Baroque art is exemplified by the bold
visionary sculpture and architecture of Bernini (1598-1680), by the trompe
l'oeil illusionistic ceiling frescoes of Pietro da Cortona (1596-1669) - see his
masterpiece Allegory of Divine Providence (1633-39) - and by the grandiose paintings
of the Flemish master Rubens (1577-1640).
(2) Greater Realism
A new more life-like or naturalist style of figurative composition. This new approach
was championed by Carravaggio (1571-1610), Francisco Ribalta (1565–
1628), Velazquez (1599-1660) and Annibale Carracci (1560-1609). The boldness and
physical presence of Caravaggio's figures, the life-like approach to religious painting
adopted by Velazquez, a new form of movement and exuberance pioneered by Annibale
Carracci, and a realistic form of rustic Biblical genre painting, complete with animals,
evolved by Castiglione (1609-64) - all these elements were part of the new and
dynamic style known as Baroque. See also: Classicism and Naturalism in Italian 17th
Century Painting.
(3) Easel Art
Unlike the large-scale, public, religious works of Baroque artists in Catholic countries,
Baroque art in Protestant Holland (often referred to as the Dutch Golden Age) was
exemplified by a new type of easel-art - a glossy form of genre-painting - aimed at the
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prosperous
bourgeois householder. This new Dutch Realist School of genre painting also led to
enhanced realism in portrait art and landscape painting, flower pictures, animal
compositions and, in particular, to new forms of still life painting, including the
Protestant-inspired genre known as vanitas painting (flourished 1620-50). Different
towns and areas had their own 'schools' or styles, such as Utrecht, Delft, Leiden,
Amsterdam, Haarlem and Dordrecht. See: Dutch Realist Artists.
In addition, to complicate matters further, Rome - the very centre of the movement -
was also home to a "classical" style, as exemplified in the paintings of the history
painter Nicolas Poussin (1594-1665) and the Arcadian landscape artist Claude
Lorrain (1600-82).
History of Baroque Art
Following the pronouncements made by the Council of Trent on how art might serve
religion, together with the upsurge in confidence in the Roman Catholic Church, it
became clear that a new style of Biblical art was necessary in order to support
the Catholic Counter Reformation and fully convey the miracles and sufferings of the
Saints to the congregation of Europe. This style had to be more forceful, more
emotional and imbued with a greater realism. Strongly influenced by the views of
the Jesuits (the Baroque is sometimes referred to as 'the Jesuit Style'), architecture,
painting and sculpture were to work together to create a unified effect. The initial
impetus came from the arrival in Rome during the 1590s of Annibale Carracci and
Carravaggio (1571-1610). Their presence sparked a new interest in realism as well
as antique forms, both of which were taken up and developed (in sculpture) by
Alessandro Algardi (in sculpture) and Bernini (in sculpture and architecture). Peter
Paul Rubens, who remained in Rome until 1608, was the only great Catholic painter
in the Baroque idiom, although Rembrandt and other Dutch artists were influenced by
both Caravaggism and Bernini. France had its own (more secular) relationship with
the Baroque, which was closest in architecture, notably the Palace of Versailles. The
key figure in French Baroque art of the 17th century was Charles Le Brun (1619-90)
who exerted an influence far beyond his own metier. See, for instance, the Gobelins
tapestry factory, of which he was director. Spain and Portugal embraced it more
enthusiastically, as did the Catholic areas of Germany, Austria, Hungary and the
Spanish Netherlands. The culmination of the movement was the High
Baroque (c.1625-75), while the apogee of the movement's grandiosity was marked by
the phenomenal quadratura known as Apotheosis of St Ignatius (1688-94, S. Ignazio,
Rome), by the illusionist ceiling painter Andrea Pozzo (1642-1709). Surely one of
the best Baroque paintings of the 17th century.
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By the end of the
17th century the grand Baroque style was in decline, as was its principal sponsor,
Italy. The coming European power was France, where a new and contrasting style of
decorative art was beginning to emerge. This light-hearted style soon enveloped
architecture, all forms of interior decoration, furniture, painting, sculpture and
porcelain design. It was known as Rococo.
Famous Baroque Painters (and Paintings)
Here is a short list of the greatest Old Masters of the Baroque Period, together with some of
their works:
• Annibale Carracci (1560-1609) of the Bolognese School (1590-1630)

- Christ Wearing the Crown of Thorns (1585-7, Gemaldegalerie, Dresden)
- Farnese Gallery fresco paintings (1590s, Rome)
- Flight into Egypt (1604, Doria Gallery, Rome)
Together with his brother Agostino Carracci (1557-1602), and cousin Ludovico

Carracci (1555-1619), Annibale founded an art academy called the Accademia dei
Desiderosi, later renamed the Academy of the Progressives (Accademia degli
Incamminati). This was the core of the Bolognese school of painting.
• Peter Paul Rubens (1577-1640)

- Descent from the Cross (Rubens) (1612-14) Cathedral, Antwerp.
- The Rape of the Daughters of Leucippus (1618) Alte Pinakothek, Munich.
- Judgement of Paris (1632-5) National Gallery, London.
• Carravaggio (1571-1610)
- The Calling of Saint Matthew (1600) Contarelli Chapel, Rome.
- The Martyrdom of Saint Matthew (1600) Contarelli Chapel, Rome.
- Conversion on the way to Damascus (1601) Cerasi Chapel, Rome.
- Supper at Emmaus (1601) National Gallery, London.
- Crucifixion of Saint Peter (1601) Cerasi Chapel, Rome.
- Death of the Virgin (1601-6) Louvre, Paris.
- The Entombment of Christ (1601-3) Vatican Museums, Rome.
• Domenichino (1581-1641)
- The Last Communion of St Jerome (1614) Pinacoteca, Vatican.
- Scenes from the Life of St Andrew (1622-7) Frescoes, S. Andrea della Valle.
• Simon Vouet (1590-1649)
- Psyche Watching Amor Sleep (1626) Musee des Beaux-Arts, Lyon
- Presentation in the Temple (1641) Louvre, Paris.
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• Physically Detached Yet Academically Attached
Artemisi
a Gentileschi (1593-1656)
- Judith Beheading Holofernes (1620) Uffizi Gallery, Florence.
• Nicolas Poussin (1594-1665)
- Abduction of the Sabine Women (1634-5) Metropolitan Museum of Art.
- Et in Arcadia Ego (Arcadian Shepherds) (1637) Louvre, Paris.
• Diego Velazquez (1599-1660)
- Waterseller of Seville (1618-22) Apsley House, London.
- Christ on the Cross (1632) Prado, Madrid.
- The Surrender of Breda (1634-5) Prado, Madrid.
- The Rokeby Venus (1647-51) National Gallery, London.
- Portrait of Pope Innocent X (1650) Doria Pamphilj Gallery, Rome.
- Las Meninas (1656), Museo del Prado, Madrid.
• Rembrandt (1606-69)
- The Anatomy Lesson of Dr. Nicolaes Tulp (1632) Mauritshuis.
- The Night Watch (1642) Rijksmuseum.
- Aristotle Contemplating the Bust of Homer (1653) Metropolitan Museum, NY.
- Bathsheba With King David's Letter (1654) Louvre.
- Jan Six (1654) The Six Collection, Amsterdam.
- The Syndics of the Clothmakers Guild (The Staalmeesters) (1662).
- The Suicide of Lucretia (c.1666) The Minneapolis Institute of Arts.
- The Jewish Bride (c.1665-8) Rijksmuseum.
• Carlo Maratta (Maratti) (1625-1713)

- Constantine ordering the Destruction of Pagan Idols (1648) Rome.
- Portrait of Pope Clement IX (1669) Hermitage Museum, St Petersburg.
Among other outstanding Baroque painters are: the portraitist Van Dyck (1599-1641),

see also: Baroque Portraits - and the foremost still life and animal painter Frans
Snyders (1579-1657). Among the great Catholic Baroque painters from Spain are the
intense realist painter Jusepe Ribera (1591-1652), the pious chiaroscuro expert and
tenebrist Francisco Zurbaran (1598-1664) and Bartolome Esteban Murillo (1618-82)
of Seville, known for his idealized and sentimental religious pictures. In French
Baroque art, the top caravaggesque painter was Georges de la Tour (1593-1652). In
Italy, mention should be made of the Parma artist Giovanni Lanfranco (1582-1647),
noted for his extreme foreshortening technique (di sotto in su), and the Genoese
decorative artist Baciccio (1639-1709), noted for his cangianti technique of using
vibrant colours to depict shade.
Exponents of Dutch Realism from the Baroque era include: the portraitists Frans Hals
(1581-1666) - see his masterpiece The Laughing Cavalier (1624) by the great Dutch
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portraitist Frans Hals
(1582-1666).and Rembrandt (1606-69); the genre painters Hendrik Terbrugghen
(1588-1629), Jan Steen (1626-79) and Jan Vermeer (1632-75); the 'interiors' and
'perspective' artist Samuel van Hoogstraten; the still life painters Frans Snyders (1579-
1657), Jan Davidsz de Heem (1606-84) and Willem Kalf (1619-93); the flower painter
Rachel Ruysch (1664-1750); and the landscape artists Salomon van Ruysdael (1600-
70), Aelbert Cuyp (1620-91), Jacob van Ruisdael (1628-82) and Meyndert Hobbema
(1638-1709).
For other painters and sculptors, see: Italian Baroque Artists; and French Baroque
Artists. See also: Spanish Baroque Artists. For Baroque in Germany, see: German
Baroque Artists.
Search Indicator
"National Living Treasures Guidelines – National Commission for Culture and the Arts".
Ncca.gov.ph. May 5, 2015. Retrieved October 1, 2019.
"Archived copy" (PDF). Archived from the original (PDF) on July 29, 2018. Retrieved June
9, 2018.
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LET’S INITIATE!
4. Explain
the word art in your own opinion.
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5. When can you say that art can function therapeutically?

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6. How would you values education in teaching art in elementary students?
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LET’S INQUIRE!
questions below.
3. How would you classify the different eleeemnts of arts?

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4. Give a distinction between elements and principles of arts.

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LET’S INFER!
Activity 2.1: Create an organizer which shows the concept about the principles
and elements of arts.
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LET’S
INITIATE!
4. What does it mean by art types?

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5. How would you classify the different art types?
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6. Cite at least two (2) evidences which prove that the types of arts evolves?
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LET’S INQUIRE!
questions below.
3. What if you could start an artshop, knowing you couldn't fail? Would you take
the chance? Justify your response.
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4. If you were an artist, how would you apply the different types of arts in an
artwork?
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LET’S INFER!
Activity 2.2: Create an artwork wherein you can apply the different types of arts.
Explain it in 5 sentences.
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LET’S
INITIATE!
Activity 3.1: Let us try to check your understanding of the topics. Write your answers to the
space provided below every after the questions.
4. Explain Baroque art.

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5. Name at least three (3) famous artists in line with baroque art andi discuss each
artist.
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6. Cite three (3) masterpiece of different artists in baroque time and discuss their
masterpiece.
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LET’S INQUIRE!
Activity 3.1: In this activity, you are required to expound your answer to
each of the questions below.
3. Why is there a need for us to study baroque art?

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_____________________________________________________________________
_____________________________________________________________________
4. If you are given a chance to create a masterpiece in baroque time, what would it be and
why?
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_____________________________________________________________________
LET’S INFER!
Activity 3.1: Create an organizer discussing the concept of the differernt artists
in line with Baroque art.
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Week 3
3.1 Neoclassicism period
Lesson Title 3.2 Romanticism Period
1. Discuss the Neoclassicism Period
Learning Outcome(s)
2. Explain Romanticism Period
Time Frame
LEARNING INTENT!
Terms to Ponder
Neoclassicism Period- The name given to Western movements in the decorative and visual arts, literature,
theater, music, and architecture that draw inspiration from the “classical” art and culture of Ancient Greece or Ancient
Rome.
Romanticism Period- was an artistic, literary, and intellectual movement that originated in Europe toward the
end of the 18th century. In most areas the movement was at its peak in the approximate period from 1800 CE to
1840 CE. Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism.
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Essential Content
Week - 3.1 Neoclassicism Period
What is Neoclassical or Neoclassicism Period?
Neoclassicism evolved as a reaction of society against the Baroque period, and was perceived as a way of rescuing
from the past the styles of the classical periods (Ancient Greek and Roman Art Video), that's why buildings and
sculptures have aspects in common with that era. These words can describe the characteristics of Neoclassicism:
organised, controled, serious, perfect, simple, non religious, thoughtful. polite, realistic and calmed.
Neoclassicism
Neoclassicism refers to movements in the arts that draw inspiration from the “classical” art and culture of ancient
Greece and Rome.
The classical revival, also known as Neoclassicism, refers to movements in the arts that draw inspiration
from the “classical” art and culture of ancient Greece and Rome. The height of Neoclassicism coincided
with the 18th century Enlightenment era, and continued into the early 19th century. The dominant styles
during the 18th century were Baroque and Rococo. The latter, with its emphasis on asymmetry, bright
colors, and ornamentation is typically considered to be the direct opposite of the Neoclassical style, which
is based on order, symmetry, and simplicity. With the increasing popularity of the Grand Tour, it became
fashionable to collect antiquities as souvenirs. This tradition of collecting laid the foundations for many great
art collections and spread the classical revival throughout Europe and America.
Neoclassicism grew to encompass all of the arts, including painting, sculpture, the decorative arts, theatre,
literature, music, and architecture. The style can generally be identified by its use of straight lines, minimal
use of color, simplicity of form and, of course, its adherence to classical values and techniques.
In music, the period saw the rise of classical music and in painting, the works of Jaques-Louis David
became synonymous with the classical revival. However, Neoclassicism was felt most strongly in
architecture, sculpture, and the decorative arts, where classical models in the same medium were fairly
numerous and accessible. Sculpture in particular had a great wealth of ancient models from which to learn,
however, most were Roman copies of Greek originals.
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Rinaldo Rinaldi, Chirone Insegna Ad Achille a Suonare La Cetra: Executed in a classical style and
adhering to classical themes, this sculpture is a typical example of the Neoclassical style.
Neoclassical architecture was modeled after the classical style and, as with other art forms, was in many ways a
reaction against the exuberant Rococo style. The architecture of the Italian architect Andrea Palladio became very
popular in the mid 18th century. Additionally, archaeological ruins found in Pompeii and Herculaneum informed many
of the stylistic values of Neoclassical interior design based on the ancient Roman rediscoveries.
Villa Godi Valmarana, Lonedo di Lugo, Veneto, Italy: Villa Godi was one of the first works by Palladio. Its
austere facade, arched doorways and minimal symmetry reflect his adherence to classical stylistic values.
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What happened before, during and after

Neoclassical Paintings
Neoclassical painting, produced by men and women, drew its inspiration from the classical art and culture of ancient
Greece and Rome.
Background and Characteristics
Neoclassicism is the term for movements in the arts that draw inspiration from the classical art and culture of ancient
Greece and Rome. The height of Neoclassicism coincided with the 18th century Enlightenment era and continued
into the early 19th century. With the advent of the Grand Tour—a much enjoyed trip around Europe intended to
introduce young men to the extended culture and people of their world—it became fashionable to collect antiquities
as souvenirs. This tradition laid the foundations of many great collections and ensured the spread of the Neoclassical
revival throughout Europe and America. The French Neoclassical style would greatly contribute to the
monumentalism of the French Revolution, with the emphasis of both lying in virtue and patriotism.
Neoclassical painting is characterized by the use of straight lines, a smooth paint surface hiding brush work, the
depiction of light, a minimal use of color, and the clear, crisp definition of forms. Its subject matter usually relates to
either Greco-Roman history or other cultural attributes, such as allegory and virtue. The softness of paint application
and light-hearted and “frivolous” subject matter that characterize Rococo painting is recognized as the opposite of the
Neoclassical style. The works of Jacques-Louis David are widely considered to be the epitome of Neoclassical
painting. Many painters combined aspects of Romanticism with a vaguely Neoclassical style before David’s success,
but these works did not strike any chords with audiences. Typically, the subject matter of Neoclassical painting
consisted of the depiction of events from history, mythological scenes, and the architecture and ruins of ancient
Rome.
The School of David
Neoclassical painting gained new momentum with the great success of David’s Oath of the Horatii at the Paris Salon
of 1785. The painting had been commissioned by the royal government and was created in a style that was the
perfect combination of idealized structure and dramatic effect. The painting created an uproar, and David was
proclaimed to have perfectly defined the Neoclassical taste in his painting style. He thereby became the
quintessential painter of the movement. In The Oath of the Horatii, the perspective is perpendicular to the picture
plane. It is defined by a dark arcade behind several classical heroic figures. There is an element of theatre, or
staging, that evokes the grandeur of opera. David soon became the leading French painter and enjoyed a great deal
of government patronage. Over the course of his long career, he attracted over 300 students to his studio.
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Jacques-Louis David. The Oath of the Horatii (1784): Oil on canvas. Musée du Louvre, Paris.
Jean-Auguste-Dominique Ingres, a Neoclassical painter of history and portraiture, was one of David’s students.
Deeply devoted to classical techniques, Ingres is known to have believed himself to be a conservator of the style of
the ancient masters, although he later painted subjects in the Romantic style. Examples of his Neoclassical work
include the paintings Virgil Reading to Augustus (1812), and Oedipus and the Sphinx (1864). Both David and Ingres
made use of the highly organized imagery, straight lines, and clearly defined forms that were typical of Neoclassical
painting during the 18th century.
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Jacques-Louis David. The Oath of the Horatii (1784): Oil on canvas. Musée du Louvre, Paris.
Jean-Auguste-Dominique Ingres, a Neoclassical painter of history and portraiture, was one of David’s students.
Deeply devoted to classical techniques, Ingres is known to have believed himself to be a conservator of the style of
the ancient masters, although he later painted subjects in the Romantic style. Examples of his Neoclassical work
include the paintings Virgil Reading to Augustus (1812), and Oedipus and the Sphinx (1864). Both David and Ingres
made use of the highly organized imagery, straight lines, and clearly defined forms that were typical of Neoclassical
painting during the 18th century.
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Virgil Reading to Augustus by Jean-Auguste-Dominique Ingres (1812): Oil on canvas. The Walters Art
Museum.
While tradition and the rules governing the Académie Française barred women from studying from the nude model (a
necessity for executing an effective Neoclassical painting), David believed that women were capable of producing
successful art of the style and welcomed many as his students. Among the most successful were Marie-Guillemine
Benoist, who eventually won commissions from the Bonaparte family, and Angélique Mongez, who won patrons from
as far away as Russia.
Self-Portrait by Marie-Guillemine Benoist (1788): In this untraced oil on canvas, Benoist (then Leroulx
de la Ville) paints a section from David’s acclaimed Neoclassical painting of Justinian’s blinded general
Belisarius begging for alms. Her return of the viewer’s gaze and classical attire show her confidence as
an artist and conformity to artistic trends.
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Mongez is
best known for being one of the few women to paint monumental subjects that often included
the male nude, a feat for which hostile critics often attacked her.
Theseus and Pirithoüs Clearing the Earth of Brigands, Deliver Two Women from the Hands of Their
Abductors by Angélique Mongez (1806): Oil on canvas. Hermitage Museum, St. Petersburg, Russia.
Mongez and Antoine-Jean Gros, another of David’s students, tried to carry on the Neoclassical tradition after David’s
death in 1825 but were unsuccessful in face of the growing popularity of Romanticism.
Neoclassical Sculpture
A reaction against the “frivolity” of the Rococo, Neoclassical sculpture depicts serious subjects influenced by the
ancient Greek and Roman past.
As with painting, Neoclassicism made its way into sculpture in the second half of the 18th
century. In addition to the ideals of the Enlightenment, the excavations of the ruins at Pompeii
began to spark a renewed interest in classical culture. Whereas Rococo sculpture consisted of
small-scale asymmetrical objects focusing on themes of love and gaiety, neoclassical sculpture
assumed life-size to monumental scale and focused on themes of heroism, patriotism, and
virtue.
In his tomb sculpture, the Enlightenment philosophe Voltaire is honored in true Neoclassical

form. In a style influenced by ancient Roman verism, he appears as an elderly man to honor his
wisdom. He wears a contemporary commoner’s blouse to convey his humbleness, and his robe
assumes the appearance of an ancient Roman toga from a distance. Like his ancient
predecessors, his facial expression and his body language suggest an air of scholarly
seriousness.
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Voltaire’s tomb.: Panthéon, Paris.
Neoclassical sculptors benefited from an abundance of ancient models, albeit Roman copies of
Greek bronzes in most cases. The leading Neoclassical sculptors enjoyed much acclaim during
their lifetimes. One of them was Jean-Antoine Houdon, whose work was mainly portraits, very
often as busts, which do not sacrifice a strong impression of the sitter’s personality to idealism.
His style became more classical as his long career continued, and represents a rather smooth
progression from Rococo charm to classical dignity. Unlike some Neoclassical sculptors he did
not insist on his sitters wearing Roman dress, or being unclothed. He portrayed most of the
great figures of the Enlightenment, and traveled to America to produce a statue of George
Washington, as well as busts of Thomas Jefferson, Benjamin Franklin, and other luminaries of
the new republic. His portrait bust of Washington depicts the first President of the United States
as a stern, yet competent leader, with the influence of Roman verism evident in his wrinkled
forehead, receding hairline, and double chin.
Bust of George Washington by Jean-Antoine Houdon (c. 1786)

National Portrait Gallery, Washington, DC.
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The Italian
artist Antonio Canova and the Danish artist Bertel Thorvaldsen were both based in Rome, and
as well as portraits produced many ambitious life-size figures and groups. Both represented the
strongly idealizing tendency in Neoclassical sculpture.
Hebe by Antonio Canova (1800–05).: Hermitage State Museum, St. Petersburg, Russia.
Canova has a lightness and grace, where Thorvaldsen is more severe. The difference is
exemplified in Canova’s Hebe (1800–05), whose contrapposto almost mimics lively dance steps
as she prepares to pour nectar and ambrosia from a small amphora into a chalice, and
Thorvaldsen’s Monument to Copernicus (1822-30), whose subject sits upright with a compass
and armillary sphere.
Monument to Copernicus by Bertel Thorvaldsen (1822–30).: Bronze. Warsaw, Poland.
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Neoclassical Architecture
Neoclassical architecture looks to the classical past of the Graeco-Roman era, the
Renaissance, and classicized Baroque to convey a new era based on Enlightenment principles.
Neoclassical architecture, which began in the mid 18th century, looks to the classical past of the Graeco-Roman era,
the Renaissance, and classicized Baroque to convey a new era based on Enlightenment principles. This movement
manifested in its details as a reaction against the Rococo style of naturalistic ornament, and in its architectural
formulas as an outgrowth of some classicizing features of Late Baroque. In its purest form, Neoclassicism is a style
principally derived from the architecture of Classical Greece and Rome. In form, Neoclassical architecture
emphasizes the wall and maintains separate identities to each of its parts.
The first phase of Neoclassicism in France is expressed in the Louis XVI style of architects like Ange-Jacques
Gabriel (Petit Trianon, 1762–68). Ange-Jacques Gabriel was the Premier Architecte at Versailles, and his
Neoclassical designs for the royal palace dominated mid 18th century French architecture.
Ange-Jacques Gabriel. Château of the Petit Trianon.: The Petit Trianon in the park at Versailles
demonstrates the neoclassical architectural style under Louis XVI.
After the French Revolution, the second phase of Neoclassicism was expressed in the late 18th century Directoire
style. The Directoire style reflected the Revolutionary belief in the values of republican Rome. This style was a period
in the decorative arts, fashion, and especially furniture design, concurrent with the post-Revolution French Directoire
(November 2, 1795–November 10, 1799). The style uses Neoclassical architectural forms, minimal carving, planar
expanses of highly grained veneers, and applied decorative painting. The Directoire style was primarily established
by the architects and designers Charles Percier (1764–1838) and Pierre-François-Léonard Fontaine (1762– 1853),
who collaborated on the Arc de Triomphe in Paris, which is considered emblematic of French neoclassical
architecture.
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Arc de Triomphe: The Arc de Triomphe, although finished in the early 19th century, is emblematic of French
neoclassical architecture that dominated the Directoire period.
Though Neoclassical architecture employs the same classical vocabulary as Late Baroque architecture, it tends to
emphasize its planar qualities rather than its sculptural volumes. Projections, recessions, and their effects on light
and shade are more flat. Sculptural bas-reliefs are flatter and tend to be framed in friezes, tablets, or panels. Its
clearly articulated individual features are isolated rather than interpenetrating, autonomous, and complete in
themselves.
Even sacred architecture was classicized during the Neoclassical period. The Panthéon, located in the Latin Quarter
of Paris, was originally built as a church dedicated to St. Geneviève and to house the reliquary châsse containing her
relics. However, during the French Revolution, the Panthéon was secularized and became the resting place of
Enlightenment icons such as Voltaire and Jean-Jacques Rousseau. Designer Jacques-Germain Soufflot had the
intention of combining the lightness and brightness of the Gothic cathedral with classical principles, but its role as a
mausoleum required the great Gothic windows to be blocked. In 1780, Soufflot died and was replaced by his student,
Jean-Baptiste Rondelet.
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Jacques-Germain Soufflot (original architect) and Jean-Baptiste Rondelet. The Panthéon.: Begun 1758,
completed 1790.
Similar to a Roman temple, the Panthéon is entered through a portico that consists of three rows of columns (in this
case, Corinthian) topped by a Classical pediment. In a fashion more closely related to ancient Greece, the pediment
is adorned with reliefs throughout the triangular space. Beneath the pediment, the inscription on the entablature
translates as: “To the great men, the grateful homeland.” The dome, on the other hand, is more influenced by
Renaissance and Baroque predecessors, such as St. Peter’s in Rome and St. Paul’s in London.
Intellectually, Neoclassicism was symptomatic of a desire to return to the perceived “purity” of the arts of Rome. The
movement was also inspired by a more vague perception (“ideal”) of Ancient Greek arts and, to a lesser extent, 16th
century Renaissance Classicism, which was also a source for academic Late Baroque architecture. There is an anti-
Rococo strain that can be detected in some European architecture of the earlier 18th century. This strain is most
vividly represented in the Palladian architecture of Georgian Britain and Ireland.
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Lord Burlington. Chiswick House: The design of Chiswick House in West London was influenced by that of
Palladio’s domestic architecture, particularly the Villa Rotunda in Venice. The stepped dome and temple façade
were clearly influenced by the Roman Pantheon.
The trend toward the classical is also recognizable in the classicizing vein of Late Baroque architecture in Paris. It is
a robust architecture of self-restraint, academically selective now of “the best” Roman models. These models were
increasingly available for close study through the medium of architectural engravings of measured drawings of
surviving Roman architecture.
French Neoclassicism continued to be a major force in academic art through the 19th century and beyond—a
constant antithesis to Romanticism or Gothic revivals.
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Essential Content
Week - 3.2 Romanticism
What is Romanticism Period?
Overview
Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th
century. In most areas the movement was at its peak in the approximate period from 1800 CE to 1840 CE.
Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism.
The Influence of the French Revolution
Though influenced by other artistic and intellectual movements, the ideologies and events of the French Revolution
created the primary context from which both Romanticism and the Counter-Enlightenment emerged. Upholding the
ideals of the Revolution, Romanticism was a revolt against the aristocratic social and political norms of the Age of
Enlightenment and also a reaction against the scientific rationalization of nature. Romanticism elevated the
achievements of what it perceived as heroic individualists and artists, whose pioneering examples would elevate
society. It also legitimized the individual imagination as a critical authority, which permitted freedom from classical
notions of form in art.
The Passion of the German Sturm und Drang Movement
Romanticism was also inspired by the German Sturm und Drang movement (Storm and Stress), which prized
intuition and emotion over Enlightenment rationalism. This proto-romantic movement was centered on literature and
music, but also influenced the visual arts. The movement emphasized individual subjectivity. Extremes of emotion
were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and
associated aesthetic movements.
Sturm und Drang in the visual arts can be witnessed in paintings of storms and shipwrecks showing the terror and
irrational destruction wrought by nature. These pre-romantic works were fashionable in Germany from the 1760s on
through the 1780s, illustrating a public audience for emotionally charged artwork. Additionally, disturbing visions and
portrayals of nightmares were gaining an audience in Germany as evidenced by Goethe’s possession and admiration
of paintings by Fuseli, which were said to be capable of “giving the viewer a good fright.” Notable artists included
Joseph Vernet, Caspar Wolf, Philip James de Loutherbourg, and Henry Fuseli.
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Painting in the Romantic Period

Romanticism was a prevalent artistic movement in Europe during the 18th and 19th centuries.
Romanticism
While the arrival of Romanticism in French art was delayed by the hold of Neoclassicism on the academies, it
became increasingly popular during the Napoleonic period. Its initial form was the history paintings that acted as
propaganda for the new regime. The key generation of French Romantics born between 1795–1805, in the words of
Alfred de Vigny, had been “conceived between battles, attended school to the rolling of drums.” The French
Revolution (1789–1799) followed by the Napoleonic Wars until 1815, meant that war, and the attending political and
social turmoil that went along with them, served as the background for Romanticism.
History Painting
Since the Renaissance, history painting was considered among the highest and most difficult forms of art. History
painting is defined by its subject matter rather than artistic style. History paintings usually depict a moment in a
narrative story rather than a specific and static subject. In the Romantic period, history painting was extremely
popular and increasingly came to refer to the depiction of historical scenes, rather than those from religion or
mythology.
French Romanticism
This generation of the French school developed personal Romantic styles while still concentrating on history painting
with a political message. Théodore Géricault’s The Raft of the Medusa of 1821 remains the greatest achievement of
the Romantic history painting, which in its day had a powerful anti-government message.
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Ingres
Profoundly respectful of the past, Ingres assumed the role of a guardian of academic orthodoxy against the
ascendant Romantic style represented by his nemesis Eugène Delacroix. He described himself as a “conservator of
good doctrine, and not an innovator.” Nevertheless, modern opinion has tended to regard Ingres and the other
Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and
space make him an important precursor of modern art.
Delacroix
Eugène Delacroix (1798–1863) had great success at the Salon with works like The Barque of Dante (1822), The
Massacre at Chios (1824) and Death of Sardanapalus (1827). Delacroix’s Liberty Leading the People (1830)
remains, with The Medusa, one of the best known works of French Romantic painting. Both of these works reflected
current events and appealed to public sentiment.
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Liberty Leading the People, by Delacroix, 1830: The history paintings of Eugene Delacroix epitomized the
Romantic period.
Goya
Spanish painter Francisco Goya is today generally regarded as the greatest painter of the Romantic period. However,
in many ways he remained wedded to the classicism and realism of his training. More than any other artist of the
period, Goya exemplified the Romantic expression of the artist’s feelings and his personal imaginative world. He also
shared with many of the Romantic painters a more free handling of paint, emphasized in the new prominence of the
brushstroke and impasto, which tended to be repressed in neoclassicism under a self-effacing finish. Goya’s
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work is
renowned for its expressive line, color, and brushwork as well as its distinct subversive commentary
The Milkmaid of Bordeaux by Goya, ca. 1825–1827: Though he worked in a variety of styles, Goya is
remembered as perhaps the greatest painter of the Romantic period.
German Romanticism
Compared to English Romanticism, German Romanticism developed relatively late, and, in the early years, coincided
with Weimar Classicism (1772–1805). In contrast to the seriousness of English Romanticism, the German variety of
Romanticism notably valued wit, humor, and beauty.
The early German romantics strove to create a new synthesis of art, philosophy, and science, largely by viewing the
Middle Ages as a simpler period of integrated culture, however, the German romantics became aware of the
tenuousness of the cultural unity they sought. Late-stage German Romanticism emphasized the tension between the
daily world and the irrational and supernatural projections of creative genius. Key painters in the German Romantic
tradition include Joseph Anton Koch, Adrian Ludwig Richter, Otto Reinhold Jacobi, and Philipp Otto Runge among
others.
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The Hulsenbeck Children by Phillip Otto Runge, oil on canvas: Runge was a well-known German
Romantic painter.
Landscape Painting in the Romantic Period
Dutch and English Landscape Painting
Landscape painting depicts natural scenery such as mountains, valleys, trees, rivers, and forests, in which the main
subject is typically a wide view and the elements are arranged into a coherent composition. During the Dutch Golden
Age of painting of the 17th century, this type of painting greatly increased in popularity, and many artists specialized
in the genre. In particular, painters of this era were known for developing extremely subtle, realist techniques of
depicting light and weather. The popularity of landscape painting in this region, during this time, was in part a
reflection of the virtual disappearance of religious art in the Netherlands, which was then a Calvinist society. In the
18th and 19th centuries, religious painting declined across all of Europe, and the movement of Romanticism spread,
both of which provided important historical ingredients for landscape painting to ascend to a more prominent place in
art.
In England, landscapes had initially only been painted as the backgrounds for portraits, and typically portrayed the
parks or estates of a landowner. This changed as a result of Anthony van Dyck, who, along with other Flemish artists
living in England, began a national tradition. In the 18th century, watercolor painting, mostly of landscapes, became
an English speciality. The nation had both a buoyant market for professional works of this variety, and a large number
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of Physically Detached Yet Academically Attached
amateur
painters. By the beginning of the 19th century, the most highly regarded English artists were all, for the most part,
dedicated landscapists, including John Constable, J.M.W. Turner, and Samuel Palmer.
The Hay Wain by John Constable, 1821: Constable was a popular English Romantic Painter.
French Landscape Painting
French painters were slower to develop an interest in landscapes, but in 1824, the Salon de Paris exhibited the works
of John Constable, an extremely talented English landscape painter. His rural scenes influenced some of the younger
French artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. During the
revolutions of 1848, artists gathered in Barbizon to follow Constable’s ideas, making nature the subject of their
paintings. They formed what is referred to as the Barbizon School.
During the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying
in Paris. Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille among others, practiced plein air
painting and developed what would later be called Impressionism, an extremely influential movement.
In Europe, as John Ruskin noted, and Sir Kenneth Clark confirmed, landscape painting was the “chief artistic creation
of the 19th century,” and “the dominant art.” As a result, in the times that followed, it became common for people to
“assume that the appreciation of natural beauty and the painting of landscape was a normal and enduring part of our
spiritual activity.”
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Nationalism in Landscape Painting
Nationalism has been implicated in the popularity of 17th century Dutch landscapes, and in the 19th century, when
other nations, such as England and France, attempted to develop distinctive national schools of their own. Painters
involved in these movements often attempted to express the unique nature of the landscape of their homeland.
The Hudson River School
In the United States, a similar movement, called the Hudson River School, emerged in the 19th century and quickly
became one of the most distinctive worldwide purveyors of landscape pieces. American painters in this movement
created works of mammoth scale in an attempt to capture the epic size and scope of the landscapes that inspired
them. The work of Thomas Cole, the school’s generally acknowledged founder, seemed to emanate from a similar
philosophical position as that of European landscape artists. Both championed, from a position of secular faith, the
spiritual benefits that could be gained from contemplating nature. Some of the later Hudson River School artists, such
as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great deal of Romantic
exaggeration) on the raw, terrifying power of nature.
The Oxbow by Thomas Cole, 1836: Thomas Cole was a founding member of the pioneering Hudson School,
the most influential landscape art movement in 19th century America.
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Search Indicator
"National Living Treasures Guidelines – National Commission for Culture and the Arts".
Ncca.gov.ph. May 5, 2015. Retrieved October 1, 2019.
"Archived copy" (PDF). Archived from the original (PDF) on July 29, 2018. Retrieved June
9, 2018.
LET’S INITIATE!
1. Explain Romanticism period.

_____________________________________________________________________
_____________________________________________________________________
2. What is the role of French Revolution during the Romantcism art period?
____________________________________________________________________
____________________________________________________________________
3. Since the Renaissance, why history painting was considered among the highest
and most difficult forms of art ?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. How would you classify the different art forms during Romanticism period?
_______________________________________________________________
_______________________________________________________________
2. Give at least three (3) artworks during Romanticism period and discuss each
artwork.
_______________________________________________________________
_______________________________________________________________
LET’S INFER!
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Activity 3.1:
Create an organizer which shows the concept about Romanticism period.
LET’S INITIATE!
1. What does it mean by Neoclassical or Neoclassicism period?

_____________________________________________________________________
_____________________________________________________________________
2. How would you classify the different art types during Neoclassicism period?
____________________________________________________________________
____________________________________________________________________
3. Cite at least two (2) masterpiece that eveolves during Neoclassicism period?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. What if you could start an artshop during Neoclassicism period, knowing you
couldn't fail? Would you take the chance? Justify your response.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Physically Detached Yet Academically Attached 2. If

you
were an artist during Neoclassicism period and you have a lot of artworks, how
would you convince your audience to like and buy your crateions?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
LET’S INFER!
Activity 3.2: Create an on organizer discussing the concept of Neoclassicism
period.
Week 4
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4.1 Music and Music
Lesson Title in the Philipppines
4.2 Baroque Period
1. Discuss the music and music in the Philippines
Learning Outcome(s)
2. Explain Baroque Period
Time Frame
LEARNING INTENT!
Terms to Ponder
Essential Content
Week - 4.1 Music and Music in the Philippines
Music and Music in the Philippines?
The Philippines, an archipelago of 7,100 islands, is made up of 77 provinces grouped into 16 regions. The main
groups include Luzon, the Visayan islands, and the Mindanao islands. Based on religion, the population may be
grouped into three broad categories: Christian groups, indigenous religion groups, and Muslim groups. The Christian
groups are the largest and are concentrated in the lowlands of Luzon and the Visayan islands. Indigenous religion
groups are found in upland northern Luzon, Mindanao and Palawan. Muslim groups are concentrated in Mindanao,
the Sulu islands and southern Palawan.
Although, geographically, the Philippines belongs to the East, its music has been heavily influenced by the West
owing to 333 years of Spanish rule and 45 years of American domination. Music in the highland and lowland hamlets
where indigenous culture continues to thrive has strong Asian elements. Spanish and American influences are highly
evident in the music of the urban areas. In discussing Philippine music, three main divisions are apparent: (1) an old
Asian influenced music referred to as the indigenous; (2) a religious and secular music influenced by Spanish and
European forms; and (3) an American/European inspired classical, semi-classical, and popular music.
The Indigenous Traditions
The indigenous traditions are practiced by about 10% of the population. Eight percent of this minority comprises
some 50 language groups of people who live in the mountains of northern Luzon and the islands of Mindanao, Sulu,
Palawan, and Mindoro in southern and western Philippines. The remaining 2% of these groups are the Muslims from
Mindanao and Sulu.
While there is no written information about the music in the Philippines before the arrival of Magellan in 1521,
subsequent reports made by friars, civil servants and travelers include descriptions of instrumental and vocal music–
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sometimes
mentioned in passing, other
times in greater detail. From these documents, various kinds of interments made of bronze, bamboo, or wood are
cited. These include gongs of various kinds of size and shapes, drums, flutes of different types, zithers, lutes,
clappers, and buzzers. Vocal genres include epics relating genealogies and exploits of heroes and gods; work songs
related to planting, harvesting, fishing; ritual songs to drive away evil spirits or to invoke blessings from the good
spirits; songs to celebrate festive occasions particularly marriage, birth, victory at war, or the settling of tribal
disputes; mourning songs for the dead; courting songs; and children’s game songs. It is this type of music that is still
practiced today by the indigenous groups.
The Spanish-European Influenced Traditions
With the coming of the Spaniards the Filipino’s music underwent a transformation with the influx of western
influences, particularly the Spanish-European culture prevalent during the 17th to the 19th centuries. The
Hispanization during the succeeding three centuries after 1521 was tied up with religious conversion. It effected a
change in the people’s musical thinking and what emerged was a hybrid expression tinged with Hispanic flavor. It
produced a religious music connected to and outside the Catholic liturgy and a European-inspired secular music
adapted by the Filipinos and reflected in their folk songs and instrumental music.
The American Influenced Traditions
The American regime lasted from 1898 to 1946 during which time Philippine music underwent another process
of transformation.
In the newly established public school system, music was included in the curriculum at the elementary and later
at the high school levels. Music conservatories and colleges were established at the tertiary level. Graduates from
these institutions included the first generation of Filipino composers whose works were written in western idioms and
forms. Their works and those of the succeeding generations of Filipino composers represent the classical art music
tradition which continues to flourish today.
Side by side with this classical art music tradition was a lighter type of music. This semi-classical repertoire
includes stylized folk songs, theater music, and instrumental music. The sarswela tradition produced a large body of
music consisting of songs patterned after opera arias of the day as well as short instrumental overtures and
interludes.
The strong band tradition in the Philippines, which began during the previous Spanish period and which
continues to this day, produced outstanding musicians, composers and performers. Another popular instrumental
ensemble was the rondalla which superceded an earlier type of ensemble called the cumparsa. The latter was an
adaptation of similar instrumental groups, the murza of Mexico and the estudiantina of Spain.
American lifestyle and pop culture gave rise to music created by Filipinos using western pop forms. Referred to
as Pinoy pop it includes a wide range of forms: folk songs, dance tunes, ballads, Broadway type songs, rock’ n’ roll,
disco, jazz, and rap.
These three main streams of Philippine music– indigenous, Spanish influenced religious and secular music,
American/European influenced classical, semi-classical, and popular music comprise what we refer to today as
Philippine music.
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Essential Content
Week - 4.2 Baroque Period
What is Baroque Period?
Spanish and later American colonial regimes created a Philippine society whose Western social institutions were
modeled after their respective societal structures. While both Spanish and American regimes gave their shares of
social and cultural influences, it was the American regime that established institutions that make up some of the
present structure of modern Philippine society. The creation of such institutions and the absorption of Philippines into
the global political economy likewise created a need for forms of leisure that was fit for such a society. This social
condition gave rise to the development of Philippine popular music into the forms that are known today.
Anglo-American popular music was widely heard in dance halls and cabarets, including vaudeville shows at the
early part of the twentieth century. The well known musical genres at the time like the cakewalk, thefoxtrot and
the ragtime—forerunners of what was to develop as Jazz—were played by Filipino dance bands in cabarets.
Vaudeville shows (bodabil) consists of a variety of acts that included slapstick comedy routines and tap dance
numbers aside from popular music. Filipino folk songs were arranged into dance rhythms to suit the emerging
American taste. With the introduction of radio, sheet music, live entertainment and movie themes, popular music
found its place in the mainstream of Philippine society.
During the Japanese invasion in the Second World War, American forms of entertainment were banned along
with the suppression of American values. The Japanese branded American culture as decadent while concealing its
own agenda of economic and cultural expansionism. With this, a pro-Filipino virtue was promoted side by side with a
pro-Japanese virtue and songs were one important medium to disseminate this value.
In the late 1940’s as the world was rebuilding itself after the turmoil of the 2 nd World War, American forms of
entertainment re-surfaced in the Philippines. American military presence, which demanded the forms of rest and
recreation, exposed the Filipinos to swing and continued the proliferation of popular stage shows like thebodabil.
Later, in the 1950’s, a popularized version of the samba was introduced. This was followed by the emergence of the
instrumental groups known as the cumbachero (a local version of a Latin-American band), which became well-known
in fiestas and other social gatherings.
In the 1950’s to the 1960’s, newer genres as rock and roll and country music appealed to a younger generation of
Filipino popular artists. Filipino counterparts of famous Western artists as Elvis Presley, Jerry Vale, Buddy Holly,
Chuck Berry, and the Beatles were heard over the radio and seen in movies and on television.
While preference for foreign artists prevailed, local artists continued to strive for a distinct sound that could be
referred to as “Filipino”. Conscious efforts to develop that Filipino sound ( Pinoy Sound) came however in the 1970’s
with the creation of Filipino rock music, dubbed as Pinoy Rock, Filipino Jazz or Pinoy Jazz and Filipino pop ballad or
the Manila Sound. Those initial efforts came to a significant development in the late 70’s to the 80’s with the
flourishing of various Filipino pop styles.
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In the late 70’s, the Metro
Manila Popular Music Festival (or Metro Pop), a song writing competition for amateurs and professionals, became
the buffer for the creation of new pop songs and the introduction of emerging artists and performers. Other local
competitions inspired even more artists and composers to create more music. These include Likha Awit Pambata (a
children’s song competition), the Himig Awards, and theCecil Awards. It was at about this period when
the Organisasyon ng mga Pilipinong Mang-aawit (OPM), was created to address the needs of Filipino popular artists.
OPM also stood for Original Pilipino Music a handle for music composed and/or performed by Filipinos, even with its
eventual use of English lyrics.
The effort to probe deeper into the search for a Filipino identity in popular music was attempted in the late 1980’s
and the early 90’s by a group of composers who banded together to form KATHA (write/create). This effort gave rise
to the move to create Brown Music, a kind of counterpart to the African-American “Black Music”. The outputs of multi-
awarded composer Ryan Cayabyab to fuse indigenous musical elements with foreign pop idioms took off to enable
non-mainstream artists like Joey Ayala to surface in the commercial arena. As the decade of the 90’s commenced,
more and more alternative artists entered into the mainstream.
Gong music
Philippine gong music can be divided into two types: the flat gong commonly known
as gangsà and played by the groups in the Cordillera region and the bossed gongs played
among the Islam and animist groups in the southern Philippines.
Kulintang refers to a racked gong chime instrument played in the southern islands of the
Philippines, along with its varied accompanying ensembles. Different groups have different ways
of playing the kulintang. Two major groups seem to stand out in kulintang music. These are the
Maguindanaon and the Maranaw. The kulintang instrument itself could be traced to either the
introduction of gongs to Southeast Asia from China before the 10th century CE or more likely, to
the introduction of bossed gong chimes from Java in the 15th century. Nevertheless, the
kulintang ensemble is the most advanced form of ensemble music with origins in the pre-
colonial epoch of Philippine history and is a living tradition in southern parts of the country.
The tradition of kulintang ensemble music itself is regional, predating the establishment of the
present-day Philippines, Indonesia, and Malaysia. It transcends religion,
with Buddhist, Hindu Animist, and Christian ethnic groups in Borneo, Flores, and Sulawesi
playing kulintangan; and Muslim groups playing the same genre of music in Mindanao,
Palawan, and the Sulu archipelago. It is distantly related to thegamelan ensembles
of Java and Bali, as well as the musical forms in Mainland Southeast Asia, mainly because of
the usage for the same bossed racked gong chimes that play both melodic and percussive.
Hispanic-influenced music
Spain ruled the Philippines for 333 years, and Hispanic influence in Filipino culture is ubiquitous.
This influence can be easily seen in folk and traditional music, especially in the Tagalog and
Visayan regions, where Spanish influence was the greatest.
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Rondalla
music
The Rondalla is a traditional string orchestra comprising two-string, mandolin-type instruments
such as the banduria and laud; a guitar; a double bass; and often a drum for percussion. The
rondalla has its origins in the Iberian rondalla tradition and is used to accompany several
Hispanic-influenced song forms and dances.
Harana and Kundiman
The Harana and Kundiman are popular lyrical songs dating back to the Spanish period and are
customarily used in courtship rituals. The Harana is rooted in the Mexican-Spanish from Spain,
traditional and based on the rhythmic patterns of the habanera. The Kundiman, meanwhile, has
pre-colonial origins from the Tagalophone parts of the country, uses a triple meter rhythm, and is
characterized by beginning in a minor key and shifting to a major one in the second half. But
make no mistake, harana and kundiman are stylistically different. Whereas harana is in 2/4/
time, kundiman is in 3/4. The formula is verse 1 on minor key (e.g. C Minor) followed by verse 2
on parallel major key (C Major) midway through.
In the 1920s, Harana and Kundiman became more mainstream after performers such as Atang
de la Rama, Jovita Fuentes, Conching Rosal, Sylvia La Torre, and Ruben Tagalog introduced
them to a wider audience.
Tinikling
The Tinikling is a dance from Leyte which involves two individual performers hitting bamboo
poles, using them to beat, tap, and slide on the ground, in coordination with one or more
dancers who step over and in between poles. It is one of the more iconic Philippine dances and
is similar to other Southeast Asian bamboo dances.
Cariñosa[edit]
The Cariñosa (meaning "loving" or "affectionate one") is the national dance and is part of the
María Clara suite of Philippine folk dances. It is notable for the use of a fan and handkerchief in
amplifying romantic gestures expressed by the couple performing the traditional courtship
dance. The dance is similar to the Mexican Jarabe Tapatío, and is related to the Kuracha,
Amenudo, and Kuradang dances in the Visayas and Mindanao Area.
Popular music
Original Pilipino Music, now more commonly termed OPM, originally referred only to a genre of
Philippine pop songs, mostly ballads, that became popular after the collapse of its predecessor,
the Manila sound of the late 1970s. Currently, the term "OPM" has been a catch-all description
for all popular music composed and performed by Filipinos,[1] originating from the Philippines.
Before the 1970s emergence of OPM, from the 1950s through the 1960s, popular music in the
Philippines was a varied showcase for songs in the vernacular and movie themes interpreted by
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recording
artists such Pilita Corrales, Sylvia La Torre, Diomedes Maturan, Ric Manrique Jr., Ruben
Tagalog, Helen Gamboa, Vilma Santos, Edgar Mortiz, Carmen Camacho, among many others.
In the 1970s, popular artists were Nora Aunor, Tirso Cruz III, Eddie Peregrina, Ramon
Jacinto, Victor Wood, and Asin. The more major commercial Philippine pop music artists
were Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste
Legaspi, Hajji Alejandro, Rey Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Marco
Sison, Nonoy Zuñiga, Leah Navarro, Cinderella, Tillie Moreno, Ric Segreto, Janet
Basco, Boyfriends, Hotdog, VST & Co., and many others.
Between the 1980s and the 1990s, OPM was led by artists such as Regine Velasquez, Pops
Fernandez, APO Hiking Society, Kuh Ledesma, Jose Mari Chan, Dingdong Avanzado, Tito
Mina, Rodel Naval, Janno Gibbs, Ogie Alcasid, Joey Albert, Lilet, Martin Nievera, Manilyn
Reynes, Lea Salonga, Kristina Paner, Rachel Alejandro, Raymond Lauchengco, JoAnne
Lorenzana, Francis Magalona, Gino Padilla, Sharon Cuneta, Sheryl Cruz, Keno, Lou
Bonnevie, Zsa Zsa Padilla and Gary Valenciano, among many others.
In the 1990s, famous artists included Eraserheads, Rockstar (Arkasia), Siakol, the
Company, April Boy Regino, Smokey Mountain, Rivermaya, Jaya, Agot Isidro, Dessa, Isabel
Granada, Vina Morales, Donna Cruz, Neocolours, Jolina Magdangal, Jessa Zaragoza, Ariel
Rivera, South Border, Carol Banawa, Yano, Teeth, Introvoys, AfterImage, Side A, Andrew
E., Lani Misalucha, Ella May Saison, Joey Ayala, Parokya ni Edgar, Viktoria, April Boys, Color It
Red, Roselle Nava and Blakdyak, among many others.
In the 2000s and the 2010s, leading OPM artists include Sarah Geronimo, Julie Anne San
Jose, Angeline Quinto, Aicelle Santos, Gerald Santos, Jonalyn Viray, Rachelle Ann
Go, Christian Bautista, Kitchie Nadal, Yasmien
Kurdi, Moonstar88, Itchyworms, Rocksteddy, Aiza Seguerra, Toni Gonzaga, Richard
Poon, Nina, Yeng Constantino, Piolo Pascual, KZ Tandingan, Nyoy Volante, Daniel
Padilla, Hale, Spongecola, Mark Bautista, Jennylyn Mercado, Jake Zyrus, Jed Madela, Erik
Santos, Parokya Ni Edgar, Ben&Ben, Kamikazee, TNT Boys, Moira Dela Torre, James
Reid, Sheryn Regis, Gloc-9, MNL48, and SB19 among many others.
Underground bands emerged; along with them were their perceptions of idealism and self-
expression. The famous lyricist of Circle's End, Geno Georsua landed on top as the
melodramatic expressionist. Bassist Greg Soliman of UST Pendong grasps the title as the best
bassist of underground music.
From its origin, OPM is centered in Manila, where Tagalog and English are the dominant
languages. Other ethnolinguistic groups such as Visayan, Bikol, and Kapampangan, who are
making music in their native languages, rarely break into the popular Filipino local music scene.
But there are unusual cases which include the Bisrock (Visayan rock music) song "Charing" by
1017, a Davao-based band, and "Porque" by Maldita, a Zamboanga-based Chavacano band. A
lot of compositions of Bisrock are contributed by bands such as Phylum and Missing Filemon.
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However, a
band called Groupies' Panciteria that hails from Tacloban, a Winaray-speaking city, launched a
free downloadable mp3 album on Soundclick.com in 2009 containing 13 Tagalog songs and
only one very short song in the Cebuano language.[2]
Following suit are the Kapampangans. The debut music video of "Oras" ("Time") by Tarlac City-
based Kapampangan band Mernuts penetrated MTV Pilipinas, making it the first-ever
Kapampangan music video to join the ranks of other mainstream Filipino music
videos. RocKapampangan: The Birth of Philippine Kapampangan Rock,[3] an album of modern
remakes of Kapampangan folk extemporaneous songs by various Kapampangan bands was
also launched in February 2008, and was regularly played via Kapampangan cable channel
Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by
what the locals call "Kapampangan cultural renaissance", Angeles City-born balladeer Ronnie
Liang rendered Kapampangan translations of some of his popular songs such as "Ayli"
(Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his
repackaged album.
Despite the growing clamor for non-Tagalog and non-English music and the greater
representation of other Philippine languages, the local Philippine music industry, which is
centered in Manila, is unforthcoming in venturing investments to other locations. Some of their
major reasons include the language barrier, small market size, and socio-cultural emphasis
away from regionalism in the Philippines. An example would be the songs of the Ilokano group
The Bukros Singers,[4] who swept through Ilocandia in the 1990s and became a precursor for
other Ilokano performers into the 2000s, but rarely broke through other music markets in the
Philippines.
The country's first songwriting competition, Metro Manila Popular Music Festival, was first
established in 1977 and launched by the Popular Music Foundation of the Philippines. The
event featured many prominent singers and songwriters during its time. It was held annually for
seven years until its discontinuation in 1985. It was later revived in 1996 as the "Metropop Song
Festival", running for another seven years before being discontinued in 2003 due to the decline
of its popularity.[5] Another variation of the festival had been established called the Himig
Handog contest which began in 2000, operated by ABS-CBN Corporation and its subsidiary
music label Star Music (formerly Star Records).
Five competitions have been held so far starting in 2000 to 2003 and were eventually revived in
2013. Unlike its predecessors, the contest has different themes which reflect the type of song
entries chosen as finalists each year.[6][7] In 2012, the Philippine Popular Music Festival was
launched and is said to be inspired by the first songwriting competition. [8] Another songwriting
competition for OPM music being held annually is the Bombo Music Festival, being conducted
by the radio network Bombo Radyo, first conceived in 1985.[9]
Pop music
See also: Pinoy pop
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From the
1990s to the 2000s, OPM pop was regularly showcased in the live band scene. Groups such
as Neocolours, Side A, Introvoys, the Teeth, Yano, True Faith, Passage,
and Freestyle popularized songs that clearly reflect the sentimental character of OPM pop of
this era.
From 2010 to 2020, Philippine pop music or P-pop went through a huge metamorphosis in its
increased quality, budget, investment, and variety, matching the country's rapid economic
growth, and an accompanying social and cultural resurgence of its Asian identity. This was
heard by heavy influence from K-pop and J-pop, growth in Asian style ballads, idol groups, and
EDM music, and less reliance on Western genres, mirroring the Korean wave and similar
Japanese wave popularity among millennial Filipinos and mainstream culture. Famous P-pop
music artists who had defined the growth of this now mainstream genre include 4th
Impact, Sarah Geronimo, SB19, 1st.One, KZ Tandingan, Erik Santos, Yeng
Constantino, MNL48, Regine Velasquez, BGYO, BINI, Alamat, and P-Pop Generation.
Choir music
Choral music has become an important part of Philippine music culture. It dates back to the
choirs of churches that sing during mass in the old days. In the middle of the 20th century,
performing choral groups started to emerge and increasingly become popular as time goes by.
Aside from churches, universities, schools, and local communities have established choirs.
Philippine choral arrangers like Robert Delgado, Fidel Calalang, Lucio San Pedro, Eudenice
Palaruan among others have included in the vast repertoires of choirs beautiful arrangements of
OPM, folk songs, patriotic songs, novelty songs, love songs, and even foreign songs.
The Philippine Madrigal Singers (originally the University of the Philippines Madrigal Singers) is
one of the most famous choral groups not only in the Philippines, but also worldwide. Winning
international competitions, the group became one of the most formidable choral groups in the
country. Other award-winning choral groups are the University of Santo Tomas Singers, the
Philippine Meistersingers (Former Adventist University of the Philippines Ambassadors),
the U.P. Singing Ambassadors, and the U.P. Concert Chorus, among others.
Rock music
See also: Pinoy rock
The United States occupied the Islands from 1898 until 1946 and introduced
American blues, folk music, R&B and rock & roll which became popular. In the late 1950s,
native performers adapted Tagalog lyrics for North American rock & roll music, resulting in the
seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s
was the hit song "Killer Joe", which propelled the group, Rocky Fellers, reaching number 16 on
the American radio charts.
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1970s
Up until the 1970s, popular rock musicians began writing and producing in English. In the early
1970s, rock music began to be written using local languages, with bands like the Juan Dela
Cruz Band being among the first popular bands to do so. Mixing Tagalog and English lyrics were
also popularly used within the same song, in songs like "Ang Miss Universe Ng Buhay Ko ("The
Miss Universe of My Life") by the band Hotdog which helped innovate the Manila sound. The
mixing of the two languages (known as "Taglish"), while common in casual speech in the
Philippines[citation needed], was seen as a bold move[citation needed], but the success of Taglish in popular
songs, including Sharon Cuneta's first hit, "Mr. DJ", broke the barrier.
Philippine rock musicians added folk music and other influences, helping to lead to the 1978
breakthrough success of Freddie Aguilar. Aguilar's "Anak" ("Child"), his debut recording, is the
most commercially successful Filipino recording, and was popular throughout Asia and Europe,
and has been translated into numerous languages by singers worldwide. Asin also broke into
the music scene in the same period and was popular. Other similar artists included Sampaguita,
Coritha, Florante, Mike Hanopol, and Heber Bartolome.
1980s
Folk rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko" ("My
Country") became popular as an anthem during the 1986 EDSA Revolution. At the same time, a
counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene
developed, led by bands like Betrayed, the Jerks, Urban Bandits, and Contras. The influence
of new wave was also felt during these years, spearheaded by the Dawn.
1990s
The 1990s saw the emergence of Eraserheads, considered by many Philippine nationals as the
number one group in the Philippine recording scene. In the wake of their success was the
emergence of a string of influential Filipino rock bands such as True Faith, Yano,
Siakol, Teeth, Parokya ni Edgar and Rivermaya, each of which mixes the influence of a variety
of rock sub-genres into their style.[10][circular reference] A 1990s death metal (Skychurch, Genital
Grinder, Death After Birth, Disinterment, Kabaong ni Kamatayan, Mass Carnage, Apostate,
Murdom, Exhumed, Sacrilege, Rumblebelly, Disinterment[11] (Death Metal Philippines),
Dethrone, Aroma) emergence had bands as prominent fixtures at Club Dredd of the "tunog
kalye" era.
2000s
Filipino rock in the 2000s had also developed to include some Punk Rock, Hardcore, Emo, hard
rock, heavy metal, and alternative rock such as Razorback, Wolfgang, Greyhoundz, Slapshock,
Queso, Typecast, Chicosci, Bamboo, Kamikazee, Franco, Urbandub, and the progressive
bands Paradigm, Fuseboxx, Earthmover, and Eternal Now.
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2010s
The 2010s saw the rise of various unsigned acts of different sub-genres from another format of
rock, independent music which included indie acts such as Autotelic, Snakefight,
Jejaview, Bullet Dumas, Ang Bandang Shirley, Cheats, BP Valenzuela, She's Only Sixteen, The
Ransom Collective, Oh, Flamingo!, Sud, Jensen and The Flips, MilesExperience, Tom's Story,
Lions & Acrobats, Ben&Ben, December Avenue, IV of Spades, CHNDTR, Clara Benin, Reese
Lansangan, Unique Salonga, This Band, I Belong to the Zoo, Brisom, Lola
Amour, Luncheon, Munimuni, Over October, and Leanne and Naara, among others.
Rock festivals have emerged through recent years and it has been an annual event for some of
the rock/metal enthusiasts. One big event is the Pulp Summer Slam where local rock/metal
bands and international bands such as Lamb of God, Anthrax, Death Angel, and Arch
Enemy have performed.[12] Another all-local annual event, Rakrakan Festival, where over 100
Pinoy rock acts are performed.
The neo-traditional genre in Filipino music is also gaining popularity, with artists such as Joey
Ayala, Grace Nono, Bayang Barrios, Kadangyan and Pinikpikan reaping relative commercial
success while utilizing the traditional musical sounds of many indigenous tribes in the
Philippines.
Hip hop
Main article: Pinoy hip hop
Filipino hip-hop is hip hop music performed by musicians of Filipino descent, both in the
Philippines and overseas, especially by Filipino-Americans. The Philippines is known to have
had the first hip-hop music scene in Asia since the early 1980s, largely due to the country's
historical connections with the United States where hip-hop originated. Rap music released in
the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano,
Ilocano, and English. In the Philippines, Francis M, Andrew E., and Gloc-9 are cited as the most
influential rappers in the country, being the first to release mainstream rap albums.
Other genres
Many other genres are growing in popularity in the Philippine music scene, including several
alternative groups and tribal bands promoting cultural awareness of the Philippine Islands.
Pinoy jazz
Likewise, jazz experienced a resurgence in popularity. The initial impetus was provided by
W.D.O.U.J.I. (Witch Doctors of Underground Jazz Improvisation) [13][14][15] with their award-winning
independent release Ground Zero[16] distributed by the now-defunct N/A Records in 2002, and
Buhay, led by Tots Tolentino,[17] in the year before that. This opened up the way for later
excursions, most notable of which is the Filipino jazz supergroup Johnny Alegre Affinity,
[18]
releasing its eponymous debut album in 2005 under London-based Candid Records.[19]
[20]
The Kapampangan singer Mon David [pam][21] likewise reinvented his persona as a premier
jazz vocalist, winning the London International Jazz Competition for Vocalists in 2006. [22] Among
the female jazz singer-songwriters, the British-Filipino Mishka Adams became very popular as a
flagship artist of Candid Records, releasing two well-received albums.[23][24]
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Other
notable names were guitarist Bob Aves[25] with his ethno-infused jazz,[26][27][28] and Akasha, led by
Mar Dizon, which anchored Monday-night jazz jams during the early 2000s in Freedom Bar, a
venue located in Cubao, Quezon City. The spoken-word fusion ensemble Radioactive Sago
Project also displayed very strong jazz underpinnings. In recent years, after-hours jazz jams in a
venue called Tago Jazz Cafe,[29] also located in Cubao, became an incubator for groups like
Swingster Syndicate[30] and Camerata Jazz.[citation needed]
Novelty pop
Pinoy novelty songs became popular in the 1970s up to the early 1980s. Popular novelty
singers around this time were Reycard Duet, Fred Panopio and Yoyoy Villame. Novelty pop acts
in the 1990s and 2000s included Michael V., Bayani Agbayani, Grin Department,
Masculados, Vhong Navarro, Sexbomb Girls, Joey de Leon ("Itaktak Mo"), Viva Hot Babes,
and Willie Revillame.
Latin genres
The prevalence of Bossa nova and Latino music in Philippine popular music had been very
evident, in the 1970s, 1980s, 1990s, and onwards. Performers such Annie Brazil and her son
Richard Merk, the Katindig family of musicians (Eddie Katindig, Romy Katindig, Boy
Katindig, Tateng Katindig, Henry Katindig), Bo Razon, Eileen Sison, and more recently, Sitti,
achieved popularity and commercial success with their infectious Latin-derived performances
and recordings.
Reggae
Main article: Pinoy reggae
While there has long been a flourishing underground reggae and ska scene, particularly
in Baguio, it is only recently that the genres have been accepted in the mainstream. Acts
like Brownman Revival, Put3ska, Roots Revival of Cebu, and The Brown Outfit Bureau of Tarlac
City have been instrumental in popularizing what is called "Island Riddims". There is also a
burgeoning mod revival, spearheaded by Juan Pablo Dream and a large indie-pop scene.
Electronic music
Electronic music began in the mid-1990s in the Manila underground spearheaded by luminaries
like Manolet Dario of the Consortium. In 2010, local artists started to create electropop songs
themselves. As of now, most electronic songs are used in commercials. The only radio station
so far that purely plays electronic music is 107.9 U Radio. The 2010s also began the rise
of budots from Davao City, which is regarded as the first "Filipino-fied" EDM, as well as indie
electronic producers, DJs, and artists with the likes of Somedaydream, Borhuh, Kidwolf, Zelijah,
John Sedano, MVRXX, MRKIII, Bojam, CRWN, NINNO, Kidthrones, and Jess Connelly.
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Search Indicator
Lockard, Craig. (1996) Popular Musics and Politics in Modern Southeast Asia. in ASIAN MUSIC 27(2): 149-199
Mangahas, Fe. (1984) The State of Philippine Music in Politics of Culture: The Philippine Experience. Manila: The Philippine
Educational Theater Association
Molina, E. The Philippine Popular Music Scene in BULLETIN OF THE ASIAN CULTURAL CENTER FOR UNESCO 15
Reyes, R. The Philippine Sound and the Musical Gold Rush in FAR EASTERN ECONOMIC REVIEW 17(11)
LET’S INITIATE!
1. Explain the European in fluence traditions in the Philippine art specially the
music category.
_____________________________________________________________________
_____________________________________________________________________
2. What pop art culture?

____________________________________________________________________
____________________________________________________________________
3. Describe music in the Philippines during the American traditions influence?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. Why the Filipino’s music underwent a transformation with the influx of
western influences, particularly the Spanish-European culture prevalent during
the 17th to the 19th centuries. ?
_______________________________________________________________
_______________________________________________________________
2. Cite at least three (3) artworks during the American influence tradition.
_______________________________________________________________
_______________________________________________________________
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LET’S
INFER!
Activity 4.1: Create an organizer which shows the concept about the music and
music in the Philippines.
LET’S INITIATE!
1. What does it mean by Baroque period?

_____________________________________________________________________
_____________________________________________________________________
2. How would you describe the different art types during Baroque period?
____________________________________________________________________
____________________________________________________________________
3. Cite at least two (2) masterpiece that eveolves during Baroque period?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
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Physically Detached Yet Academically Attached 1.

What if
you could start an artshop during Baroque period, knowing you couldn't fail?
Would you take the chance? Justify your response.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. If you were an artist during Baroque period and you have a lot of creations,
how would you convince your audiences to buy your creations?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
LET’S INFER!
Activity 4.2: Create an on organizer discussing the music in the Philippines and
during Baroque Period.
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Week 5
5.1 NeoClassic Period
Lesson Title 5.2 Romanticism Period
5.3 Dance and Different Types of Dances
1. Discuss the arts in Neoclassical Period
Learning Outcome(s) 2. Explain Romanticism period
3. Elaborate dance and different types of dances in the Philippines
Time Frame
LEARNING INTENT!
Terms to Ponder
Neoclassical art- also called Neoclassicism and Classicism, a widespread and influential movement in painting and the
other visual arts that began in the 1760s, reached its height in the 1780s and ’90s, and lasted until the 1840s and ’50s. In
painting it generally took the form of an emphasis on austere linear design in the depiction of Classical themes and subject
matter, using archaeologically correct settings and clothing.
Essential Content
Week - 5.1 NeoClassic Period
TheNeoClassical Period?
Neoclassical art, also called Neoclassicism and Classicism, a widespread and influential movement in painting and the
other visual arts that began in the 1760s, reached its height in the 1780s and ’90s, and lasted until the 1840s and ’50s. In
painting it generally took the form of an emphasis on austere linear design in the depiction of Classical themes and subject
matter, using archaeologically correct settings and clothing. Neoclassicism in the arts is an aesthetic attitude based on the
art of Greece and Rome in antiquity, which invokes harmony, clarity, restraint, universality, and idealism. In the context of
the tradition, Classicism refers either to the art produced in antiquity or to later art inspired by that of antiquity, while
Neoclassicism always refers to the art produced later but inspired by antiquity. Classicizing artists tend to prefer somewhat
more specific qualities, which include line over colour, straight lines over curves, frontality and closed compositions over
diagonal compositions into deep space, and the general over the particular.
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Neoclassicism arose partly as a reaction against the sensuous and frivolously decorative Rococo style that had
dominated European art from the 1720s on. But an even more profound stimulus was the new and more scientific
interest in Classical antiquity that arose in the 18th century. Neoclassicism was given great impetus by
new archaeological discoveries, particularly the exploration and excavation of the buried Roman cities
of Herculaneum and Pompeii (the excavations of which began in 1738 and 1748, respectively). And, from the second
decade of the 18th century on, a number of influential publications by Bernard de Montfaucon, Giovanni Battista
Piranesi, the comte de Caylus, and antiquarian Robert Wood provided engraved views of Roman monuments and
other antiquities and further quickened interest in the Classical past. The new understanding distilled from these
discoveries and publications in turn enabled European scholars for the first time to discern separate and distinct
chronological periods in Greco-Roman art, and this new sense of a plurality of ancient styles replaced the older,
unqualified veneration of Roman art and encouraged a dawning interest in purely Greek antiquities. The German
scholar Johann Joachim Winckelmann’s writings and sophisticated theorizings were especially influential in this
regard. Winckelmann saw in Greek sculpture “a noble simplicity and quiet grandeur” and called for artists to imitate
Greek art. He claimed that in doing so such artists would obtain idealized depictions of natural forms that had been
stripped of all transitory and individualistic aspects, and their images would thus attain a universal and archetypal
significance.
Painting
Neoclassicism as manifested in painting was initially not stylistically distinct from the French Rococo and other styles
that had preceded it. This was partly because, whereas it was possible for architecture and sculpture to be modeled
on prototypes in these media that had actually survived from Classical antiquity, those few Classical paintings that
had survived were minor or merely ornamental works—until, that is, the discoveries made at Herculaneum and
Pompeii. The earliest Neoclassical painters were Joseph-Marie Vien, Anton Raphael Mengs, Pompeo
Batoni, Angelica Kauffmann, and Gavin Hamilton, Those artists were active during the 1750s, ’60s, and ’70s. Each of
those painters, though they may have used poses and figural arrangements from ancient sculptures and vase
paintings, was strongly influenced by preceding stylistic trends. An important early Neoclassical work such as
Mengs’s Parnassus (1761) owes much of its inspiration to 17th-century Classicism and to Raphael for both the poses
of its figures and its general composition. Many of the early paintings of the Neoclassical artist Benjamin West derive
their compositions from works by Nicolas Poussin, and Kauffmann’s sentimental subjects dressed in antique garb are
basically Rococo in their softened, decorative prettiness. Mengs’s close association with Winckelmann led to his
being influenced by the ideal beauty that the latter so ardently expounded, but the church and palace ceilings
decorated by Mengs owe more to existing Italian Baroque traditions than to anything Greek or Roman.
Britain
Gavin Hamilton—Scottish painter, archaeologist, and dealer—spent most of his working life in Rome, and his
paintings include two series of large and influential canvases of Homeric subjects. West and the Swiss-born
Kauffmann were the most consistent exhibitors of history pieces in London during the 1760s. James Barry and Fuseli
also were important. Blake, poet and painter, was a Neoclassicist to some extent.
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Barry, James: The Education of Achilles

The Education of Achilles, oil on canvas by James Barry, c. 1772; in the Yale Center for British Art, New Haven,
Connecticut. Yale Center for British Art, Paul Mellon Collection, B1978.6
Britain
As well as being a painter, Joseph-Marie Vien was a friend of the archaeologist Caylus and a director of the French
Academy in Rome. That generation also included Jean-Baptiste Greuze, who painted a few Classical history subjects
as well as the scenes from contemporary life for which he is best known; Louis-Jean-François Lagrenée the Elder,
like Vien a director of the French Academy in Rome; and Nicolas-Guy Brenet.
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Vien, Joseph-Marie: The Toilette of a Bride in Ancient Dress

The Toilette of a Bride in Ancient Dress, oil on canvas by Joseph-Marie Vien, 1777; in a private
collection.
In a private collection
The outstanding and most influential of all French Neoclassicists and one of the major artists in Europe was Vien’s
pupil Jacques-Louis David. David’s early works are essentially Rococo, and his late works also revert to early 18th-
century types. His fame as a Neoclassicist rests on paintings of the 1780s and ’90s. After winning the Prix de
Rome of the French Academy in 1774 (important in the history of French painting because it awarded a stay in
Rome, where winners studied Italian paintings firsthand), he was in that city in 1775–81, and he returned there in
1784 to paint Oath of the Horatii. David’s contemporaries and near-contemporaries included Jean-Germain Drouais,
whose history paintings almost equaled David’s own in severity and intensity.
The slightly younger generation of painters included Jean-Baptiste Regnault, Louis-Léopold Boilly, and Louis
Gauffier. They were followed by a more important group that included Pierre-Paul Prud’hon, who blended in his
paintings a mild Classicism and the lyrical mood and soft lights of Correggio. Prud’hon was patronized by the
empresses Josephine and Marie-Louise. Baron Pierre-Narcisse Guérin painted in a style close to the Neoclassicism
of David, although he was not one of David’s pupils.
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Of David’s
pupils, three became well
known and one became very famous. Baron François-Pascal-Simon Gérard had a high reputation as a portraitist
under both Napoleon and Louis XVIII. Antoine-Jean Gros executed many large Napoleonic canvases and after
David’s death was the leading Neoclassicist in France. Anne-Louis Girodet won a Prix de Rome but stopped painting
after 1812 when he inherited a fortune and turned to writing. The famous pupil was Ingres, who was important as a
Neoclassicist in his subject paintings but not in his portraits.
Girodet, Anne-Louis: Psyche Asleep
Psyche Asleep, oil on canvas by Anne-Louis Girodet, 1799; in a private collection. In a private
collection
Germany and Austria
Anton Raphael Mengs was born in Aussig in Bohemia (modern Ústí nad Labem, Czech Republic) in 1728, the son of
the court painter there. He was himself appointed Dresden court painter in 1745. In 1755 he met Winckelmann, and
subsequently he became a prominent figure in Roman Neoclassical circles. Mengs is important both as a painter and
as a theorist. Apart from him, Germany’s and Austria’s main contribution to Neoclassicism was theoretical, not
practical, however. The early Neoclassicists included Cristoph Unterberger; Anton von Maron, who married Mengs’s
sister; and Friedrich Heinrich Füger. After Unterberger, the most interesting painter was Johann Heinrich Wilhelm
Tischbein, who executed both portraits and subject pieces. He was a director of the art academy in Naples and
supervised the publication of engravings of the Greek vases in the collection of Sir William Hamilton, the British
ambassador to Naples, who was a notable connoisseur.
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Johann Heinrich Wilhelm Tischbein: Goethe in the Roman Campagna

Goethe in the Roman Campagna, oil on canvas by Johann Heinrich Wilhelm Tischbein, 1787; in the
Städel Museum, Frankfurt am Main, Germany.
Städel Museum, Frankfurt am Main, Germany

The German painter Asmus Jacob Carstens worked in Berlin and was a professor at the Berlin Academy. Members
of his artistic circle included the painters Karl Ludwig Fernow, Eberhard Wächter, Joseph Anton Koch (who was the
most outstanding of this German group), and Gottlieb Schick.
Italy
One of the earliest Neoclassicists, and one of the foremost painters of his generation in Italy, was Pompeo Batoni.
His style blends Rococo with Neoclassical elements, and his work includes Classical subject pieces as well as
portraits in contemporary dress, the sitter posing with antique statues and urns and sometimes amid ruins. The
painter Domenico Corvi was influenced by both Batoni and Mengs and was important as the teacher of three of the
leading Neoclassicists of the next generation: Giuseppe Cades, Gaspare Landi, and Vincenzo Camuccini. These
artists worked mostly in Rome, the first two making reputations as portraitists, Landi especially being noted for good
contemporary groups.
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Batoni, Pompeo Girolamo: Susannah and the Elders

Susannah and the Elders, oil on canvas by Pompeo Girolamo Batoni, 1751; in a private collection.
In a private collection
Rome was indeed the city where the principal Italian painters of the Neoclassical period were most active. One such
was Felice Giani, whose many decorations include Napoleonic palaces there and elsewhere in Italy
(especially Faenza) and in France.
Important painters outside Rome include Andrea Appiani the Elder in Milan, who became Napoleon’s official painter
and executed some of the best frescoes in northern Italy. He was also a fine portraitist. One of his pupils was
Giuseppe Bossi. Another leading Lombard painter was Giovanni Battista dell’Era, whose encaustic paintings were
bought by Catherine the Great and others. Other good examples of Neoclassical decorative schemes outside Rome
are in Florence at the Pitti Palace by the Florentine Luigi Sabatelli and by Pietro Benvenuti, who was born at Arezzo,
and in Venice at San Marco Basilica by Giuseppe Borsato, who was born in that city and was both painter and
architect. The principal Neoclassicists in the south were the Sicilians Giuseppe Velasco, who did important frescoes
in palaces in Palermo, and Giuseppe Errante.
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Other countries
The main Danish painter who produced original Neoclassical works was Nicolai Abraham Abildgaard. Other Danish
painters included Abildgaard’s and David’s pupil Christoffer Wilhelm Eckersberg. David was very influential
in Brussels, where he retired late in life. The paintings of his Belgian pupil François-Joseph Navez, for example, are
pure French Neoclassicism. The two main Neoclassical artists in the Netherlands were Humbert de Superville and
Jan Willem Pieneman. The principal Neoclassicist in Spain was José de Madrazo y Agudo.
Abildgaard, Nicolai: The Wounded Philoctetes

The Wounded Philoctetes, oil on canvas by Nicolai Abildgaard, 1775; in the National Gallery of
Denmark, Copenhagen.
Statens Museum for Kunst (National Gallery of Denmark); www.smk.dk (Public domain)
Sculpture
Archaeological investigations of the Classical Mediterranean world offered to the 18th-century cognoscenti
compelling witness to the order and serenity of Classical art and provided a fitting backdrop to the Enlightenment and
the Age of Reason. Newly discovered antique forms and themes were quick to find new expression.
The successful excavations contributed to the rapid growth of collections of antique sculptures. Foreign visitors to
Italy exported countless marbles to all parts of Europe or employed agents to build up their collections. The
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accessibility
of the sculpture of
antiquity, in museums and private houses and also through engravings and plaster casts, had a far-reaching
formative influence on 18th-century painting and sculpture. The great majority of ancient sculptures collected were
Roman, although many of them were copied from Greek originals and were believed to be Greek.
In the writing of Johann Joachim Winckelmann, Greek art was considered immeasurably superior to Roman. It is
curious, however, how little positive influence the marbles that Lord Elgin took to England from the Parthenon in
Athens had on sculpture in western Europe, although they had a great influence on scholars. The ideals of
Neoclassical sculpture—its emphasis on clarity of contour, on the plain ground, on not rivaling painting either in the
imitation of aerial or linear perspective in relief or of flying hair and fluttering drapery in freestanding figures—were
chiefly inspired by theory and by Roman neo-Attic works, or indeed by Roman pseudo-Archaic art. The latter class of
art exerted an influence on John Flaxman, who was enormously admired for the severe style of his engravings and
relief carvings.
“Decorum” and idealization
Academic theorists, especially those of France and Italy during the 17th century, argued that expression, costume,
details, and setting of a work should be as appropriate to their subject as possible. The 18th-century Neoclassicists
inherited this theory of “decorum” but, giving preference to a universal ideal, instead implemented it in restricted form
—subdividing all action and expression into Classical repose, idealizing faces and bodies into Classical heroes, and
transforming all costume, if any, into tight-fitting attire to avoid reference to ephemeral time.
A series of monuments to 18th- and early 19th-century generals and admirals of the Napoleonic Wars in St. Paul’s
Cathedral and Westminster Abbey demonstrate an important resulting dilemma: whether a hero or a famous person
should be portrayed in Classical or contemporary costume. Many sculptors varied between showing the figures in
uniform and showing them completely naked. The concept of the modern hero in antique dress belongs to the
tradition of academic theory, exemplified by the English painter Sir Joshua Reynolds in one of his Royal
Academy Discourses:
The desire for transmitting to posterity the shape of modern dress must be acknowledged to be purchased at a
prodigious price, even the price of everything that is valuable in art.
Even the living hero could be idealized completely naked, as in two colossal standing figures of Napoleon (1808–11)
by the Italian sculptor Antonio Canova. One of the most famous of Neoclassical sculptures is Canova’s Paolina
Borghese Bonaparte as Venus Victrix (1805–08). She is shown naked, lightly draped, and reclining sensuously on a
couch—both a charming contemporary portrait and an idealized antique Venus.
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Antonio Canova: Paolina Borghese Bonaparte as Venus Victrix

Paolina Borghese Bonaparte as Venus Victrix, marble sculpture by Antonio Canova, 1805–08; in
the Borghese Gallery, Rome.© Luxerendering/Shutterstock.com
Relation to the Baroque and the Rococo
Classical academic theories circulating in the Renaissance, especially in the 17th century, favoured the antique and
those artists who followed in that tradition. The artists praised included Raphael, Michelangelo, Giulio Romano,
and Annibale Carracci. A slightly later generation of writers added the name of the French painter Nicolas Poussin to
the list. The exuberance and “fury” of the Baroque must be avoided, it was argued, because they led to “barbarous”
and “wicked” works. Continuing in this tradition, Winckelmann, for example, argued that the Italian Baroque sculptor
and architect Gian Lorenzo Bernini had been “misled” by following nature.
Such hostility to Baroque works, however, did not immediately eradicate their influence on 18th-century artists, as
can be seen in an early work by Canova, Daedalus and Icarus (1779), executed before he had been to Rome. In
Canova’s tomb of Pope Clement XIV (1784–87; Santi XII Apostoli basilica, Rome), the pope, seated on a throne
above a sarcophagus, is treated in a dramatically realistic style with hand raised in a forceful gesture reminiscent of
papal tombs of the 17th century.
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Although the Neoclassical
artists and writers expressed contempt for what they regarded as the frivolous aspect of the Rococo, there is a strong
influence of French Rococo on the early style of some of the Neoclassical sculptors. Étienne-Maurice Falconet,
Flaxman, and Canova all started to carve and model with Rococo tendencies, which were then gradually transformed
into more Classical elements.
Hostile critics of Neoclassical sculpture have tended to compare such works to “a valley of dry bones.” Some artists
and theorists misunderstood the advocacy of Winckelmann and his school to imitate ancient art. Winckelmann meant
—as did 17th-century theorists before him, and writers such as Shaftesbury and Jonathan Richardson, who
influenced him considerably—imitation to be a means of discovering ideal beauty and conveying the spirit of the
original. He did not advocate servile copying of the antique or eliminating the persuasive eloquence of action and
intense expression. Unfortunately, spiritless copies were made, and these led to classification of idealist works as
“frigid.” In sculpture some of the important commissions regrettably resulted in this lifeless concept of Neoclassicism.
Among the examples are large marbles of Christ and the Apostles (1821–42) and a bronze of St. John the
Baptist (1822) by the Danish sculptor Bertel Thorvaldsen at the Church of Our Lady, Copenhagen. Thorvaldsen’s
marbles, unlike Canova’s, are as neutral as the plaster models; indeed, the surface of the sculpture was deliberately
left neutral.
Bertel Thorvaldsen: Christ
Christ, marble statue by Bertel Thorvaldsen, 1821; in the Church of Our Lady, Copenhagen.
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Gestures and emotions in Neoclassical works are usually restrained to give priority to calm grandeur, spiritual
nobility, and beauty. In bacchanalian scenes, the gaiety is held in check, never bursting into exuberance. In a tragic
scene, Andromache does not shed a tear as she mourns the death of Hector. When Flaxman did attempt terror, as in
the marble The Fury of Athamas (1790–94), the violence seems forced and unconvincing. Indeed, there exist in
Neoclassical sculpture hardly any convincing images of rage. The concept of antique calmness permeated European
art. Canova, with his Hercules and Lichas (1796), produced a large marble of exaggerated expression beyond his
normal range and, to some extent, beyond his abilities. Like Flaxman, he was far more successful when carving
images of delicate expression, which even champions of Romantic passion applauded as an aim for sculpture, an art
for which they advocated expressive subtlety that triggered imagination. The sensitive viewer, they argued, would
find strong expression and forceful activity in monumental freestanding sculpture illogical (i.e., marble should not
writhe or fly) and gratingly theatrical.
Flaxman, John: The Fury of Athamas

The Fury of Athamas, marble sculpture by John Flaxman, 1790–94; in the collection of the National Trust, Ickworth,
Suffolk, England.
A.F. Kersting
Britain
Prominent early British Neoclassical sculptors included John Wilton, Joseph Nollekens, John Bacon the Elder, John
Deare, and Christopher Hewetson—the last two working mostly in Rome. The leading artist of the younger
generation was John Flaxman, professor of sculpture at the Royal Academy and one of the few British artists of the
period with an international reputation. The last generation of Neoclassicists included the sculptors Sir Richard
Westmacott, John Bacon the Younger, Sir Francis Chantrey, Edward Hodges Baily, John Gibson, and William
Behnes.
France
While Neoclassicism in France was dominated by painting and architecture, the movement did find a number of
notable exponents in sculpture. These included Claude Michel, called Clodion, creator of many small vividly
expressive Classical figures, especially nymphs; Augustin Pajou; and Pierre Julien. Pigalle’s pupil Jean-Antoine
Houdon was the most famous 18th-century French sculptor, producing many Classical figures and contemporary
portraits in the manner of antique busts. Other contemporary sculptors included Louis-Simon Boizot and Étienne-
Maurice Falconet, who was director of sculpture at the Sèvres factory. The slightly younger generation included the
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sculptors Jos
eph Chinard, Joseph-
Charles Marin, Antoine-Denis Chaudet, and Baron François-Joseph Bosio. The early sculpture of Ingres’s well-
known contemporary François Rude was Neoclassical.
François Rude: Departure of the Volunteers of 1792 (La Marseillaise)

Departure of the Volunteers of 1792 (La Marseillaise), stone sculpture by François Rude, 1833–36; on the Arc de
Triomphe, Paris. Approx. 12.8 × 7.9 m.
Giraudon/Art Resource, New York
Central Europe
Important among central European sculptors early in the period was Johann Heinrich von Dannecker. Subsequent
Neoclassicists included Gottfried Schadow, who was also a painter but is better known as a sculptor; his pupil, the
sculptor Christian Friedrich Tieck; the painter and sculptor Martin von Wagner; and the sculptor Christian Daniel
Rauch.
Italy
The most important Italian Neoclassicist was Antonio Canova, the leading sculptor—indeed, by far the most famous
artist of any sort—in Europe by the end of the 18th century. Canova’s position in the following 20 years may be
compared only to that enjoyed by Bernini in the 17th century. The differences between their careers, however, are of
great importance. Only at the commencement of his career did Bernini carve gallery sculpture for princely collectors,
but the majority of Canova’s works belong to this category. Both artists remained resident in Rome for most of their
life, but, whereas Bernini was controlled by the popes and only rarely permitted to work for foreign potentates,
Canova’s principal patrons were foreigners, and he supplied sculpture to all the courts of Europe. A fine sculptor of
varying styles, including austere, sentimental, and horrific, Canova produced an extensive body of work that includes
Classical groups and friezes, tombs, and portraits, many in antique dress. His pupil and collaborator Antonio d’Este is
one of the more interesting of the lesser Italian Neoclassical sculptors. Other Neoclassical sculptors in Rome
included Giuseppe Angelini, best known for the tomb of the etcher and architect Giovanni Battista Piranesi in the
church of Santa Maria del Priorato, Rome.
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Canova, Antonio: Paolina Borghese Bonaparte as Venus Victrix

Paolina Borghese Bonaparte as Venus Victrix, marble sculpture by Antonio Canova, 1805–08; in the Borghese
Gallery, Rome.
Alinari—Art Resource/Encyclopædia Britannica, Inc.
In Milan, Camillo Pacetti directed the sculptural decoration of the Arco della Pace. The work of Gaetano Monti, born
in Ravenna, can be seen in many northern Italian churches. The Tuscan sculptor Lorenzo Bartolini executed some
important Napoleonic commissions. The marble Charity is one of the more famous examples of his later
Neoclassicism. It should be noted, however, that he did not see himself as a Neoclassical artist and that he
challenged the idealism that was favoured by Canova and his followers.
Denmark and Sweden
The Swede Johan Tobias Sergel, court sculptor to the Swedish king Gustav III, and the Dane Bertel Thorvaldsen,
who lived most of his life in Rome, were among the best-known Neoclassical sculptors in Europe. Thorvaldsen was
the chief rival to Canova and eventually replaced him in critical favour. His work was more severe, sometimes even
archaizing, in character, and his religious sculpture, most notably his great figure of Christ in the Church of Our Lady
in Copenhagen, exhibits a deliberately chilling sublime style that still awaits sympathetic reassessment. Among his
more notable pupils was the Swedish sculptor Johan Byström.
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Russia
Both leading Russian Neoclassicists were sculptors. Ivan Petrovich Martos studied under Mengs, Thorvaldsen, and
Batoni in Rome and became a director of the St. Petersburg Academy. His best works are tombs. Mikhail
Kozlovsky contributed to the decoration of the throne room at Pavlovsk.
United States of America
Apart from the painter Benjamin West, who worked almost entirely in London, the leading Neoclassicists among
American artists were sculptors. William Rush produced standing Classical figures, including those formerly
decorating a waterworks in Philadelphia. In the middle years of the 19th century, there came into prominence four
sculptors: Horatio Greenough, who executed several government commissions in Washington, D.C.; Hiram Powers,
known particularly for his portrait busts; Thomas Crawford, who did monumental sculpture; and William Wetmore
Story, who lived and worked in Rome, where he was associated with several other prominent 19th-century
Americans. A circle of American women sculptors working in the Neoclassical style arose in Rome in the 19th
century as well—among them Harriet Hosmer, Anne Whitney, and Edmonia Lewis.
Powers, Hiram: President Andrew Jackson

President Andrew Jackson, plaster bust by Hiram Powers, modeled 1835; in the Smithsonian American Art Museum,
Washington, D.C.
Photograph by pohick2. Smithsonian American Art Museum, Washington, D.C., Museum purchase in memory of
Ralph Cross Johnson, 1968.155.58
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Essential Content
Week - 5.2 Romanticism Period
Arts in the Romanticism Period?
Romanticism, attitude or intellectual orientation that characterized many works of

literature, painting, music, architecture, criticism, and historiography in Western civilization over a period from the late
18th to the mid-19th century. Romanticism can be seen as a rejection of the precepts of order, calm, harmony,
balance, idealization, and rationality that typified Classicism in general and late 18th-century Neoclassicism in
particular. It was also to some extent a reaction against the Enlightenment and against 18th-century rationalism and
physical materialism in general. Romanticism emphasized the individual, the subjective, the irrational, the
imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental.
Eugène Delacroix: Liberty Leading the People

Liberty Leading the People, oil on canvas by Eugène Delacroix, 1830; in the Louvre, Paris.
Josse Christophel/Alamy
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Among the
characteristic attitudes of
Romanticism were the following: a deepened appreciation of the beauties of nature; a general exaltation of emotion
over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human
personality and its moods and mental potentialities; a preoccupation with the genius, the hero, and the exceptional
figure in general and a focus on his or her passions and inner struggles; a new view of the artist as a supremely
individual creator, whose creative spirit is more important than strict adherence to formal rules and traditional
procedures; an emphasis upon imagination as a gateway to transcendent experience and spiritual truth; an
obsessive interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the
exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased, and even the satanic.
Literature
Romanticism proper was preceded by several related developments from the mid-18th century on that can be
termed Pre-Romanticism. Among such trends was a new appreciation of the medieval romance, from which
the Romantic movement derives its name. The romance was a tale or ballad of chivalric adventure whose emphasis
on individual heroism and on the exotic and the mysterious was in clear contrast to the elegant formality and
artificiality of prevailing Classical forms of literature, such as the French Neoclassical tragedy or the English heroic
couplet in poetry. This new interest in relatively unsophisticated but overtly emotional literary expressions of the past
was to be a dominant note in Romanticism.
Romanticism in English literature began in the 1790s with the publication of the Lyrical Ballads of William
Wordsworth and Samuel Taylor Coleridge. Wordsworth’s “Preface” to the second edition (1800) of Lyrical Ballads, in
which he described poetry as “the spontaneous overflow of powerful feelings,” became the manifesto of the English
Romantic movement in poetry. William Blake was the third principal poet of the movement’s early phase in England.
The first phase of the Romantic movement in Germany was marked by innovations in both content and literary style
and by a preoccupation with the mystical, the subconscious, and the supernatural. A wealth of talents,
including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, August
Wilhelm and Friedrich von Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, belong to this first
phase. In Revolutionary France, François-Auguste-René, vicomte de Chateaubriand, and Madame de Staël were the
chief initiators of Romanticism, by virtue of their influential historical and theoretical writings.
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Johann Heinrich Wilhelm Tischbein: Goethe in the Roman Campagna

Goethe in the Roman Campagna, oil on canvas by Johann Heinrich Wilhelm Tischbein, 1787; in the Städel Museum,
Frankfurt am Main, Germany.
Städel Museum, Frankfurt am Main, Germany
Get a Britannica Premium subscription and gain access to exclusive content.Subscribe Now
The second phase of Romanticism, comprising the period from about 1805 to the 1830s, was marked by a
quickening of cultural nationalism and a new attention to national origins, as attested by the collection and imitation of
native folklore, folk ballads and poetry, folk dance and music, and even previously ignored medieval and
Renaissance works. The revived historical appreciation was translated into imaginative writing by Sir Walter Scott,
who is often considered to have invented the historical novel. At about this same time English Romantic poetry had
reached its zenith in the works of John Keats, Lord Byron, and Percy Bysshe Shelley.
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Sir Walter Scott

Sir Walter Scott.
© Photos.com/Getty Images
A notable by-product of the Romantic interest in the emotional were works dealing with the supernatural, the weird,
and the horrible, as in Mary Shelley’s Frankenstein and works by Charles Robert Maturin, the Marquis de Sade,
and E.T.A. Hoffmann. The second phase of Romanticism in Germany was dominated by Achim von Arnim, Clemens
Brentano, Joseph von Görres, and Joseph von Eichendorff.
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Mary Wollstonecraft Shelley

Mary Wollstonecraft Shelley, oil on canvas by Richard Rothwell, first exhibited 1840; in the National Portrait Gallery,
London.
© AISA—Everett/Shutterstock.com
By the 1820s Romanticism had broadened to embrace the literatures of almost all of Europe. In this later, second,
phase, the movement was less universal in approach and concentrated more on exploring each nation’s historical
and cultural inheritance and on examining the passions and struggles of exceptional individuals. A brief survey of
Romantic or Romantic-influenced writers would have to include Thomas De Quincey, William Hazlitt,
and Charlotte, Emily, and Anne Brontë in England; Victor Hugo, Alfred de Vigny, Alphonse de Lamartine, Alfred de
Musset, Stendhal, Prosper Mérimée, Alexandre Dumas, and Théophile Gautier in France; Alessandro
Manzoni and Giacomo Leopardi in Italy; Aleksandr Pushkin and Mikhail Lermontov in Russia; José de
Espronceda and Ángel de Saavedra in Spain; Adam Mickiewicz in Poland; and almost all of the important writers in
pre-Civil War America.
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Charlotte Brontë
A portrait of Charlotte Brontë, based on a chalk pastel by George Richmond.
© Photos.com/Thinkstock
Visual arts
In the 1760s and ’70s a number of British artists at home and in Rome, including James Barry, Henry Fuseli, John
Hamilton Mortimer, and John Flaxman, began to paint subjects that were at odds with the strict decorum and
classical historical and mythological subject matter of conventional figurative art. These artists favoured themes that
were bizarre, pathetic, or extravagantly heroic, and they defined their images with tensely linear drawing and bold
contrasts of light and shade. William Blake, the other principal early Romantic painter in England, evolved his own
powerful and unique visionary images.
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William Blake: Pity
Pity, colour print finished in pen and watercolour by William Blake, 1795; in the Tate Collection, London.
Courtesy of the trustees of the Tate, London; photographs, G. Robertson, A.C. Cooper Ltd.
In the next generation the great genre of English Romantic landscape painting emerged in the works of J.M.W.
Turner and John Constable. These artists emphasized transient and dramatic effects of light, atmosphere, and colour
to portray a dynamic natural world capable of evoking awe and grandeur.
J.M.W. Turner: Rain, Steam, and Speed—the Great Western Railway

Rain, Steam, and Speed—the Great Western Railway , oil on canvas by J.M.W. Turner, 1844; in the National Gallery,
London.
Erich Lessing/Art Resource, New York
In France the chief early Romantic painters were Baron Antoine Gros, who painted dramatic tableaus of
contemporary incidents of the Napoleonic Wars, and Théodore Géricault, whose depictions of individual heroism and
suffering in The Raft of the Medusa and in his portraits of the insane truly inaugurated the movement around 1820.
The greatest French Romantic painter was Eugène Delacroix, who is notable for his free and expressive brushwork,
SCP-ART100 | 113

his rich and sensuous use of
colour, his dynamic compositions, and his exotic and adventurous subject matter, ranging from North African Arab life
to revolutionary politics at home. Paul Delaroche, Théodore Chassériau, and, occasionally, Jean-Auguste-Dominique
Ingres represent the last, more academic phase of Romantic painting in France. In Germany Romantic painting took
on symbolic and allegorical overtones, as in the works of Philipp Otto Runge. Caspar David Friedrich, the greatest
German Romantic artist, painted eerily silent and stark landscapes that can induce in the beholder a sense of
mystery and religious awe.
Théodore Géricault: The Raft of the Medusa

The Raft of the Medusa, oil on canvas by Théodore Géricault, c. 1819; in the Louvre, Paris. 491 × 716 cm.
Fine Art Images—Heritage Images/age fotostock
Romanticism expressed itself in architecture primarily through imitations of older architectural styles and
through eccentric buildings known as “follies.” Medieval Gothic architecture appealed to the Romantic imagination in
England and Germany, and this renewed interest led to the Gothic Revival.
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London: Houses of Parliament

Houses of Parliament, London, a complex of Gothic Revival buildings designed by Charles Barry and
Augustus Welby Northmore Pugin, 1837–60.
Week - 5.3 Dance and Different Types of Dances
Dance and Different types of Dances in the Philippines ?
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Philippine
dance has played a
tremendous role in Filipino culture. From one of the oldest dated dances called the Tinikling, to other
folkloric dances such as the Pandanggo, Cariñosa, and Subli, and even to more modern-day dances
like the ballet, it is no doubt that dance in the Philippine setting has integrated itself in society over
the course of many years and is significantly imbedded in culture. Each of these dances originated in
a unique way and serve a certain purpose, showcasing how diverse Philippine dances are now.
Igorot
There are six Igorot ethnolinguistic tribes living in Luzon's mountain terrains: the Bontoc, Ifugao,
Benguet, Apayo, and the Kalinga tribes, which retained much of their anito religions. Their lives have
been centered on appeasing their gods and maintaining a harmonious relationship between spirits
and man. Dances are usually linked to rituals for a good harvest, health, prayers for peace, and \
safety in war.
Type of Dance Origin Tribe Purpose
One popular contemporary performance in the Philippines is named

after the large banga pots. This performance originated in the province
of Kalinga of the Mountain Province. As many as seven or eight pots
Banga Kalinga are balanced on the heads of maidens as they move to the beat of
the gangsa, a type of gong, while they go about their daily routine of
fetching water while balancing the banga. This is why the tribesmen
are known as fierce warriors.[1]
The Bendayan, which is also referred to as Bendian, is a dance that

Benguet was adapted from the tradition of the Benguet Mountain Province in
Province, which hunters are honoured. Although it is an adaptation or rendition
Bendayan
Northern of the original, it is still included in each festivity in Benguet and its
Luzon significance remains preserved. Furthermore, the circles lead to an
unambiguous meaning.[1]
Manmanok is a dance that dramatizes is a dance that portrait the

Manmanok Bago rooster and the hen, Lady Lien. They try to attract her by making use
of blankets that depict their feathers and wings.[1]
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Tachok is a Kalinga Festival Dance that is performed by unmarried

Kalinga women who imitate the movement of the flight of birds as they
move through the air. People come together and perform this dance to
Lumagen/Tachok Luzon Kalinga
celebrate their birth first-born baby boy, weddings, or people who are
able to make peace with each other. This dance is accompanied with
music with the use of gongs.[1]
The word Gaddang originated from the combination of two words

which are “ga”, meaning heat, and “dang” which is to burn.
The Gaddang people live in the center of Cagayan Valley.
Furthermore, some of their groups have resided in Isabela, Kalinga,
and Eastern Bontoc. They are mostly Christian, and are agricultural in
Cagayan Gaddan nature. Those that have resided in the areas stated mostly preserved
Turayen
Valley g their culture which is rooted in indigenous and swidden agricultural
traditions. For an instance, they commonly practice the burning of
existing crops to construct short-term plots for farming. Additionally,
they also practice hunting and fishing. In the Gaddang dance, the
people emulate the movements of birds that are drawn to tobacco
trees.[1]
Tarektek dramatizes two male tarektek woodpeckers who try to get

the attention of three females. The first woodpecker tries doing this by
showing his good voice. This was portrayed by the banging of a brass
Tarektek Benguet
gong. On the other hand, the second tries impress the females by
showing off his feathers. This was portrayed by the use of colorful
blankets that are moved around in bird like movements.[1]
The Salidsid, or the “cayoo dance”, is known as a romantic dance in

which a male courts a female. That being said, it is commonly
performed with one male and a female dancer. It starts with each of
the dancers holding an “ayob” or “allap” which is a small cloth.
Customarily, the most powerful people in the village are in the dance
Salidsid Kalinga following the host's signal of the opening of the affair. Both the context
and the significance of the dance are apparent. Additionally, the male
imitates a rooster that is attempting to gain attention from a hen which
is represented by a female dancer. On the other hand, the female
dancer imitates the gestures of a hen that is being orbited by a
rooster.[1]
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Tribes from the mountain provinces in Luzon give great importance to

their identity. Thanksgiving, birth, wedding, and victory in war among
others, are some things that these people celebrate through the art of
dance. The Kalinga wedding ritual, to be particular, is a dance wherein
Salip Kalinga
a bride is offered protection and comfort by the groom. The man tries
to show his love by imitating the movements of a rooster. Meanwhile,
the bride's friends prepare “bangas” (earthen pots) that contain fresh
water from the mountain spring to offer to the groom.[1]
Ragsaksakan dance portrays the walk of the industrious Kalingga

women who climb up the rice terraces in the Mountain Provinces of
Ragsaksakan Kalinga the Philippines. They carry pots that are placed above their heads.
They also wear small hand woven blankets around their necks which
represent the “blankets of life.”[1]
Coined from the word ipugao meaning “coming from the earth” is the
term Ifugao, pertaining to the people of the province who are called to
be the “children of the earth.” As well as to the province itself,
Uyauy/Uyaoy Ifugao according to the Spaniards. Those who belong to the wealthy class,
the Kadangyans, have the privilege to use the gongs that are used at
the wedding festival dance. The same dance is performed by the
people who desire to reach the second level of the wealthy class.[1]
Moro
The Moro people are the various usually unrelated Muslim Filipino ethnic groups. Most of their dances are marked by
intricate hand and arm movements, accompanied by instruments such as the agong and kulintang.[2]
Type of Origin Tribe Purpose
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Dance
The Panglay, a dance native to the Badjaos meant to highlight the

Zamboanga power of the upper body, is executed through the rhythmic bounce of
Pangalay Badjao
del Sur the shoulder while simultaneously waving the arms. Most times, this
dance is performed in social gatherings like weddings.[2]
Burung Talo is a dance in the form of martial arts. Performers portray a

Burung battle between a hawk and a cat. This dance is accompanied with lively
Tausug
Talo beats from gongs and drums as the performers do acrobatic
movements.[3]
The Asik is solo dance performance portrays an unmarried young

woman who tries to gain the approval and support of her sultan master.
She can dance for two reasons. The first is to try to win the heart of her
Lanao del
Asik Maguindanao master and the second is to be able to make up for a mistake she has
Sur
done. In this dance, the performer dances and poses in doll like
motionsand is dressed with fine beads, long metal finger nails, and
heavy make up.[4]
Singkil is a Filipino dance that narrates the epic legend of “Darangan” of

the Maranao people of Mindanao. This 14th century epic is about
Princess Gandingan getting trapped in the forest during an earthquake
that was said to have been caused by the forest nymphs or fairies
called diwatas. The name “Singkil” is derived from the bells worn by the
Princess on her ankles.
The dance uses props that are representative of the events in the epic.
Lanao, The criss-crossed bamboos are clapped together to signify the falling
Singkil Marano
Mindanao trees the Princess gracefully dodges as they fall while her slave follows
her around. The Prince then finds her and the other dancers begin to
dance slowly and progress to faster tempo with fans or their hands
moving in a rhythmic manner which signify the winds in the forest. With
skillful handling of fans, the dancers cross the bamboos precisely and
expertly. In Sulu, Royal Princesses are required to learn the dance. The
Royal Princesses in the dance, specifically in Lanao are usually
accompanied by a waiting lady holding an elaborately decorated
umbrella on her head and follows her as she dances.[2]
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Tahing Baila is a
Tahing
Yakan Yakan dance, a low land tribal Philippine folk dance, in which it tries to
Baila
imitate movements of fish.[2]
From the highlands of Mindanao, is a Musim ethnic group called the

Yakan. They are known to wear body-hugging elaborately woven
Pangsak Basilan Yakan costumes. One of their popular dances, called Pangsak, involves a man
and his wife performing complicated hand and foot movements while
their faces are painted white to hide their identity from evil spirits.[2]
To imitate themovements of the beautiful southern boat (the vinta) with

Panglay colorful sails which journeys through the Sulu Sea, the Panglay ha
Badjao
ha Pattong Pattong is a dance performed by a royal couple that balances on top of
bamboo poles.[2]
Panglay sa Agong is a dance that portrays two warriors who try to gain
Panglay sa
Tausug-Sulu the attention of a young woman. By banging on gongs, it was the way
Agong
they showed their courage and skills.[2]
Maranao people from the around the Lake Lanao have a royal manner
of “walking” called the Pagapir. The ladies of the royal court perform
Lanao del
Pagapir Maranao this dance for important events and to show their good upbringing. It
Sur
involves a graceful manipulation of the Aper (apir) or fan while doing the
“Kini-kini” or small steps.[2]
Sagayan is a dance often performed before celebrations, and to get rid

of bad spirits and to welcome good ones. The performers are fierce
warriors who portray movements that depict a warrior trying to protect
his master in battle. This means that many acrobatic movements are
Sagayan Cotabato Maguindanao
involved in this dance. They carry a shield on one hand and
a kampilan on the other, a double-sided sword made of either wood or
metal. These dancers also wear bright colored materials for their three
tiered skirts, toppers and headgear.[2]
Kapa Malong Malong, also known as Sambi sa Malong, is a dance that

shows how the malong can be used or worn. A malong is a hand woven
Kapa
piece of cloth that is tubular that can come in many colors. For women,
Malong
they usually make use of it as a skirt, shawl, mantle, or headpiece. On
Malong
the other hand, for men, they make use of it as a sash, waistband,
shorts or bahag, and headgear for the fields or as a decorative piece.[2]
Lumad
The non-Islamized natives of Mindanao are collectively known as the Lumad people. Like the Igorot, they still retain
much of their animistic anito religions.[5][6]
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The Kuntaw, which originates from the Malay word meaning

“fist”, is one of Mindanao's best-kept secrets. It is a martial arts
Kuntaw T’boli
dance that includes gestures of the fist, accompanied by other
actions like jumps, kicks, and knee bends.[7]
The tribe of T’boli is located in a place where there are vast

amounts of wildlife, most especially birds. Kadal Taho, also
considered as the “True Dance of the T’boli,” is a story about a
Lake Sebu, flock of sister birds who left to look for food and ended up getting
Kadal Taho T’boli
South Cotabato lost. During the journey, one of the sisters injures her leg and is
unable to fly. With her flock by her side, motivating her and
supporting her, she was able to fly again and they were able to
get home safely.[8]
Lemlosnon, Kadal Blelah is a tribal dance wheres dancers try to simulate and
Kadal Blelah T’boli
Cotabato imitate the different movements of birds.[5]
The Binalayan dance emulates movements of a hen, her baby

chicks and a hawk. The hawk has always been seen and
symbolized as that which has power over the welfare of the
Binaylan Higaonon Bagobo
entire tribe. Although, one day, the hawk tried to get one of the
baby chicks which led to the hawks death for it was killed by
hunters.[5]
Bagobo Rice Cycle, also known as Sugod Uno, is a tribal dance

which portrays the rice production cycle. This includes the
Bagobo Rice
Davao del Sur Bagobo prepping the land, planting rice, watering the rice, and harvesting
Cycle
it. This dance also portrays rituals to say thank you for the rice
that they were able to harvest.[9]
Performances such as a sacrifice dance rite exists in provinces

wherein religion is given the highest regard, such as the
Dugso Bukidnon Talaindig
Higaonon of Bukidnon province in Mindanao place. “Dugso” is
performed as a form of thanksgiving for good harvest, healing of
the sick and for the community's overall well being. It is also
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used to get rid of bad spirits, to give luck for victory in battle and
used during the blessing of the newly opened field. Their
costumes are compared to that of the pagpagayok bird because
of the colourful headdresses and the bells wrapped around their
ankles which is considered as the “best music” to the spirits.[8]
Kadal Heroyon, also known as the dance of flirtation, is

performed by T’boli girl adolescents qualified to get married.
Kadal Lake Sebu,
T’boli Beautification, which was held of high importance in the tribe, is
Heroyon South Cotabato
portrayed through movements that would imitate how birds flew.
[5]
Karasaguyon is a tribal dance that portrays a story of four sisters

who try to get the attention of a polygamous man who is
Lake Sebu, choosing his next wife. This dance is accompanied with music
Karasaguyon T’boli
South Cotabato from the sounds of the beads and bells as they clink against
each other which are wrapped around the waists and ankles of
the performers.[8]
The Kinugsik Kugsik tries to imitate the friendly and endearing

nature of squirrels. The dance portrays an issue of love between
Santa Maria, two male squirrels and one female squirrel who run around the
Kinugsik
Agusan del Manobo forest. They had created this dance as a remembrance of the
Kugsik
Norte time wherein the tribe of Manobo lived harmoniously with
squirrels who thrived in their area. They named this dance as
such because they called these squirrels, “kugsik.”[8]
A lawin, Philippine hawk eagle, is endemic to the Philippine

region. The lawin-lawin dance tries to imitate how the eagle
Lawin-Lawin Davao del Sur Bagobo
soars the sky by making use of shields to represent the wings.
This is performed by males of the Bagobo tribe.[8]
Sohten was danced before as a way of asking the gods for

protection and success before going into battle. This is now
Zamboanga del
Sohten Subanon performed by an all males of the Subanon tribe who make use of
Norte
shields and palm leaves to portray this pre-combat ritualistic
dance.[8]
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Babuklod, Talbeng, a lively dance accompanied by a guitarist, imitates

Talbeng Florida Blanca, animals of the region, most especially the monkeys. This dance
Pampanga originated from the Aetas, also known as the Negritos.[8]
The Bangkakawan, a fishing ritual, originated from the

Tigwahanon Manobos of Bukidnon. A huge log is carved to
Bangkakawan Bukidnon Monobo replicate the shape of a palungan (snake) and is used to making
steady beats and rhythms to make fish dizzy and less difficult to
catch.[10]
Moral Solanay is a dance performed by indigenous people of

Southern B’laan. This dance is performed by women who portray the spirit
Maral Solanay B’laan
Mindanao of a young lady named Solanay. Through this dance, they try to
show grace, beauty, and diligence which Solanay represents.[11]
After a Pagdiwata ritual, the basal banal dance is usually

performed. This is a traditional dance of the Palawanons
Basal Banal Palawan Palawanon
wherein they make use of native balasbas and cloth to make
their movements more prominent and noticeable.[12]
Well respected Obo Manobo warriors, called Baganis, perform

Palihuvoy Manobo
this dance which showcase their skills in fighting.[13]
Sabay Pengalay is a Subanon courtship dance that contains

Sabay Zamboanga del
Subanon pantomimic gestures. It portrays a smitten bachelor who tries to
Pengalay Norte
win the heart of a kerchief.[14]
Siring is a dance performed by the Lambangian tribe. Their

ancestry is from an intermarriage between the Dulangan
Siring Maguindanao Lambangians Manobo and Teduray, two other indigenous tribes. The siring is
a dance that portrays different activities that occur in their
everyday lives. These include planting rice and catching fish.[15]
Sout is a Subanen dance which aims to be able to showcase a

Sout Zamboanga Subanen
warriors skill with the use of a sword and shield (k’lasag) which
are covered with different kinds of shells called blasi.[16]
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Talek in a dance usually performed by Subanen women, who

Talek Zamboanga Subanen hold on to kompas or rattan leaves, during festivals or wedding
celebrations.[17]
The Kadal Unok is a dance performed by women that is depicted

through elegant and fluid movements with the use of the arms
that tries to imitate the movements of the onus bird. They
Lake Sebu, performers make use of heavy make up and adornments which
Kadal Unok T’boli
South Cotabato represents the tribes passion for beauty and fashion. There
passion for beauty and fashion goes as far as wearing wide
brimmed hats that are highly decorated in the fields and wearing
interlocked bronze belts, helots, whenever they walk or dance.[18]
Balisangkad comes from Madukayan, eastern side of Mountain

Province. It is a type of hunting dance in which the dancers
Balisangkad Tagbanau
movements imitate those of an eagle, particularly the flight of the
eagle.[19]
A ritual meant for the rice harvest, the Pagdiwata was a nine-day
demonstration among the Tagbanuas of Palawan to give thanks.
Pagdiwata Tagbanau
This revolved around the babaylan or priestess and her
ministrations.[20]
The Sayagan is a dance meant for courtship wherein a man

asks for a womans hand by putting his piz cloth on the ground.
Sagayan Tagbanau
For the woman to answer him back, she must likewise put her
own cloth on the ground.[21]
Soryano is a courtship dance that portrays anxious men holding

on to cloths trying to persuade women to turn around and face
Soryano Palawan Tagbanau them. Instead, these women, turn the opposite way for fun and
make the men chase them.This dance then becomes a lively
and energetic dance of chase.[22]
During the tambol, villagers summon their guiding spirit, Diwata.

Tambol Tagbanau
It is a nine-day ritual of a babaylan or priestess.[23]
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Christianized
Filipinos[edit]
The majority of Filipinos are the Christianized lowlanders of the islands. Their dances are heavily influenced by the
Spanish, though still retaining native aspects. The dances range from courtship dances, to fiesta (festival) dances, to
performance dances. The traditional attire in these dances include the balintawak and patadyong skirts for the
women, and camisa de chino and colored trousers for the men.[24]
The name Bulaklakan originates from the

numerous flowers that grow in the area of Bulacan.
Bulaklakan Bulacan The dance is dedicated to the Virgin Mary
performed widely in the month of May as part of
the celebration of their holy week.[25]
Sakuting was originally performed by male dancers

only. It originates from the province of Abra,
performed by both Ilokano Christians and non
Christians. It depicts a mock fight with sticks for
Sakuting Abra
training and combat. During Christmas, the dance
is performed in town plazas or dancers will go door
to door. Spectators give them aguinaldos (5-piso
bills) or refreshments.[26]
For the past centuries, an important part of

peasant social life is the gathering of peasants who
collectively work together to do labor-intensive jobs
for the community. Once a week they would
gather to clean the forest, till the soil, do farm work,
Tiklos Leyte
etc. Every noon time, after the peasants have
eaten and started to rest, the Tiklos is usually
performed. When the peasants start to hear the
Tiklos music from the flute, guitar, guimbal or
tambora, they start dancing the Tiklos together.[27]
Abaruray Social gatherings in communities call for

customaries that come in the form of offering wine
to guests. The offer is made by a young lady who
chooses a young man from the guest to dance
with. In accepting a glass of wine, the young man
SCP-ART100 | 125
also accepts dancing with the lady. It is not

advisable to turn down the offer as it is offensive to
the community's etiquette and the lady. As they
dance, the girl's ability is shown through balancing
the glass of wine without spilling a drop. The
audience claps with the music.[28]
In the separation of Loma and Zapote of Binan,

Laguna during the Spanish regime, the two barrios
danced the maglalatik. The Maglalatik or
Magbabao is a war dance in portrayal of a fight
over prized latik between Moros and Christians.
There are four parts of the dance, namely, the
Palipasan and Baligtaran, Paseo and Sayaw
Escaramusa. In order, the former two parts depicts
the heated relationship between the two groups
Maglalatik mentioned previously while the latter two parts
showcases their reconciliation. Following the
legend, the Moros won in the fight, but the
Christians, uncontented, sent an envoy and offered
peace and baptism to the Moros.
The dancers go house to house to dance the

Maglalatik in exchange for money or a gift. Come
night time, the dancers dance in a religious
procession as an offering to San Isidro de
Labrador, patron saint of the farmers.[29]
Tinikling Leyte The tinikling is named after the tikling bird. The

dancers imitate the bird's flight in grace and speed
as they play and chase each other, run over tree
branches or dodge farmer's traps. The dance is
done with a pair of bamboo poles.[30]
The tinikling dance has evolved from what is called
‘Tinikling Ha Bayo’ which the older people claim to
be a harder dance to perform. Originally, the said
dance was done between bayuhan, wooden
pestles used to pound husks off of rice grain.[31]
Subli Barrio of Subli is a famous dance in barrios of the

Dingin, municipality of Bauan, Batangas. It is a ceremonial
Alitagtag, dance performed in fiestas every May in homage
SCP-ART100 | 126

to Mahal Na
Poong Santa Cruz.[29]
The name comes from the Tagalog words “subsub”
Batangas (stooped) and “bali” (broken). Hence, the male
dancers are positioned in a “trunk-forward-bend”
way seemingly lame and crooked throughout the
dance.[30]
The Sayaw sa Obando is performed in honor of

Santa Clara, patron saint of the childless. It is the
Obando, childless women usually from Malabon and
Sayaw Sa Obando
Bulacan Navotas who participate in the dance as part of a
ritual to ask the said saint to grant their wishes to
have a child.[27]
Cariñosa or Karinyosa is a well known dance

around the Philippines with the meaning of the
word being affectionate, lovable, and amiable. The
dancers use a handkerchief and go through the
Cariñosa
motions of hide and seek or typical flirtatious and
affectionate movements. The dance comes in
many forms but the hide and seek is common in
all.[32]
During the Spanish regime, Kuratsa was one of the

popular and best liked dances in the country.
There are many versions across different regions
in Ilocos and Bicol. Currently, the one being
Kuratsa
performed is a Visayan versions from Leyte.
Performed in a moderate waltz style, the dance
has a sense of improvisation that mimics a young
playful couple trying to get each other's attention.[27]
Coming from the Spanish word “fandango”, the

Lubang
dance is characterized by steps and clapping that
Island,
Pandanggo Sa Ilaw varies in rhythm in 3/4 time. The Pandanggo sa
Mindoro,
Ilaw demands three oil lamps balanced on the
Visayas
heads and the back of the hands of each dancer.[33]
SCP-ART100 | 127

" Physically Detached Yet Academically Attached
Philippine
Dances
Cordillera". www.seasite.niu.edu. Retrieved April 20, 2019.
^ Jump up to:a b c d e f g h i j "Muslim Mindanao dances". www.seasite.niu.edu. Retrieved April 20,2019.
^ "Burung-Talo,origin country Philippines,The dance is a unique fighting dance in a form". www.danceanddance.com.

Retrieved April 20, 2019.
LET’S INITIATE!
1. Explain NeoClassical Art Period.

_____________________________________________________________________
_____________________________________________________________________
2. Cite at least three artists during Neoclassical time.

____________________________________________________________________
____________________________________________________________________
SCP-ART100 | 128
Physically Detached Yet Academically Attached 3.

Give at
least three artists during the NeoClassical period and discuss their master
pieces?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. Why is there a need to study Neoclassical Art ?
_______________________________________________________________
_______________________________________________________________
2. Cite at least three (3) artworks during the Neoclassical period. Discuss each
artwork.
_______________________________________________________________
_______________________________________________________________
LET’S INFER!
Activity 5.1: Create an organizer which shows the concept about the Neoclassical
arts/period.
LET’S INITIATE!
1. What does it mean by Romanticism period?

_____________________________________________________________________
_____________________________________________________________________
2. How would you describe the art types during Romanticism period?
SCP-ART100 | 129
____________________________________________________________________
____________________________________________________________________
3. Cite at least two (2) masterpiece that eveolves during Romanticism period?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. What if you could start an artshop during Romanticism period, knowing you
couldn't fail? Would you take the chance? Justify your response.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. If you were an artist during Romantiism period and you have a lot of
creations, how would you convince your audiences to buy your creations?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
LET’S INFER!
Activity 5.2: Create an on organizer discussing the music in the Philippines and
during Romanticism Period.
SCP-ART100 | 130
LET’S INITIATE!
1. What does it mean by dance?

_____________________________________________________________________
_____________________________________________________________________
2. How would you describe the different dances in the Philippines?
____________________________________________________________________
____________________________________________________________________
3. Cite at least three (3) dances in the Philippines that you like most and discuss
it.
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. What if you are task to perform one of the dances in the Philippines, knowing
you couldn't fail? Would you take the chance? Justify your response.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. If you were an artist in the Philippines and you ae task to perform a dance,
what dance would you choose how would you choose? justify your answer.
SCP-ART100 | 131
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
LET’S INFER!
Activity 5.2: Create an on organizer discussing the dances and dances in the
Philippines.
Week 6
6.1 Festivals
Lesson Title 6.2 The Philippine Folkdances
1. Discuss the different festivals in the Philippines
Learning Outcome(s)
2. Explain what are the different Folkdances in the Philippines
Time Frame
SCP-ART100 | 132

LEARNING
INTENT!
Terms to Ponder
Festivals- A festival is an event ordinarily celebrated by a community and centering on some characteristic aspect of
that community and its religion or cultures. It is often marked as a local or national holiday, mela, or eid. A festival
constitutes typical cases of glocalization, as well as the high culture-low culture interrelationship.
Philippine Folkdances- are a tradition dance of the people from one generation to another. They are means of
expressing the beliefs, moods and emotions of a people, and have been the mode of communication.
Essential Content
Week - 6.1 Festivals
The Festivals?
15 Philippine Festivals You Must Experience
The festivals in the Philippines are one of the main reasons travelers visit the country. Because of the colorful
costumes, fun activities, and electrifying festival dances in the Philippines, travelers can’t help but join the party. Here
are the top 15 festivals every traveler must experience at least once:
1. Sinulog Festival – A religious festival in the Philippines celebrated in Cebu every January.
2. Ati-Atihan Festival – One-of-a-kind festival in the Philippines held in Aklan.
3. Dinagyang Festival – The religious festival in the Philippines that celebrates the feast of the Santo Niño and
the pact between the Datus and locals in Iloilo City.
4. Pahiyas Festival – Lucban, Quezon – One of the most colorful Philippines festivals held in Lucban, Quezon
where tourists can enjoy FREE food!
5. Panagbenga Festival – The popular Flower Festival in the Philippines.
6. Lechon Festival – One of the most unique festivals in the Philippines where you’ll see crispy pork lechons
dressed in cool outfits.
7. Kadayawan Festival – The fiesta in the Philippines celebrated in Davao City.
8. MassKara Festival – The Philippine festival of many faces held in Bacolod.
9. Tuna Festival – One of the fun fish festivals in the Philippines.
10. Higantes Festival – Where you can see giant paper mache do the festival dance.
11. Mango Festival – A festivity held in Zambales to celebrate the bountiful harvest of mangoes.
12. Bangus Festival – The festival that promotes bangus.
13. Moriones Festival – A religious festival in the Philippines re-enacting Longinus’ life.
14. Ibalong Festival – It is a celebration in recognition of the socio-historic-cultural heritage of Bicolanos as
based on the Ibalong Epic.
15. T’Nalak Festival – A way to promote and preserve South Cotabato’s cultural heritage.
SCP-ART100 | 133
Essential Content
Week - 6.2
The Philippine Folkdances?
The history of Philippine folk dancing incorporates influences from immigrants and conquerors while at the same time
maintaining distinctly Filipino roots. Philippine folk dancing is a true reflection of daily life in past centuries while
enchanting modern audiences at the same time.
Folk Dance History in the Philippines
Folkloric dance is the history of the people in movement. In some cultures, pale fragments of it survive centuries of
invasions and diasporas. In the Philippines, folk dance is a strong and enduring indigenous expression.
Before the recorded history of the Philippines, before the Spanish conquistadors conquered and Christianized the
populace, from the earliest occupation of this volcanic archipelago, the people danced. They danced to appease the
gods, to curry favor from powerful spirits, to celebrate a hunt or harvest, to mimic the exotic life forms around them.
They danced their stories and their shamanic rituals, their rites of passage and their remembered legends and
history.
Rural dances include such favorites as the high-stepping Tinikling, which mimics a bird, and the Gaway-Gaway,
which features the movements of children pulling the stalks of the gaway roots during a bountiful harvest. The pagan
tribes, the Higaonon, Subanon, Bagogo, and others who have inhabited the Philippines for thousands of years,
preserved their customs and symbolic dances. Partly through isolation, they kept their culture free from the influence
of the waves of immigrants who settled the archipelago over the centuries. Today, tribal dances like Dugso (a dance
of gratitude for a good harvest or a male heir, danced with ankle bells), Sohten(an all-male war dance) and Lawin-
Lawin(another male dance which mimics a swooping, soaring eagle) are carefully documented and kept alive in
performance by Filipino folk dance troupes and cultural institutions, such as the Parangal Dance Company.
The Pagdiwata is a trance dance, featuring women dancers who enact a thanksgiving ritual at the time of the harvest
moon. The shamanic figures mime the spirits who possess them and enact a drama that can last for hours.
Muslim Merchants
Muslim traders from the Malay Archipelago reached the Philippines in the 14th century, well ahead of the Europeans.
Thier conversion of the populace was a modest affair; they were more interested in commerce than colonization,
although they did establish strongholds and convert the local populace to Islam. They also created their own folk
dances in the areas where they settled. Singkil is one of the most famous. It depicts the plight of a princess caught in
a magical earthquake in a forest. Her faithful servant tries to shield her with a parasol as the princess gracefully
SCP-ART100 | 134

dodges
falling trees, and is eventually saved by a prince.
Spanish Colonization
Folk dances survived the European invasion, and the dancers adapted imposed Christian belief and culture to their
own dances, borrowing court choreography but imbuing it with Philippine spirit. The Maria Clara dances
merged Spanish court style (and its stylized courtship conventions) with Philippine exuberance. Maria Clara is the
pure and noble heroine of a novel who represents the finest qualities of Filipino womanhood. The dancers wear
European 16th-century dress but move to the sounds of bamboo castanets.
Folkloric Fusion
The revered folk dances from the lowlands and the hill tribes persist in their traditional form and in contemporary
choreography for Philippine ballet companies. Dance is still the theater of identity for the Filipino people, a vibrant
and cherished way to tell their story forward with all the rich history of their past.
Idudu: A Snapshot of Ancient Culture
From the area of Abra, Cordillera comes the Idudu, which is a celebration of the family as the fundamental building
block of Philippine culture. Depicting a typical day in the life of a family, the father is shown working in the fields while
the mother cares for the children. As soon as the father is done, the mother goes into the fields to continue the work
while the father goes back to the house to put the baby to sleep.
A singer usually provides a well-known lullaby during this part of the dance, and it emphasizes the necessity of
cooperation and mutual support in the Tingulan family structure.
Maglalatik: The Dance of War

A dance from before the conversion of the Philippines to Christianity is called the Maglalatik. It represents a fierce
battle between the Moro tribesmen (wearing red trousers) and the Christian soldiers from Spain (wearing blue). Both
groups wear harnesses with coconut shells attached tightly to their bodies which are struck repeatedly with other
shells held in the hands.
Originally from the Binan, Laguna province, it is now one of the most common dances in Philippine folk dance
performances.
Pandanggo sa Ilaw: Grace and Balance

Derived from the Spanish word fandango, this dance is one of several designed to show off the grace, balance, and
dexterity of the performers. Three glasses of wine (or, in modern times, water) are held in hands and on top of the
dancers' heads as they move, never spilling a drop.
This is similar to the Binasuan dance from the Pangasinan Province which is done with drinking glasses.
SCP-ART100 | 135

Tinikling:
Birds Dancing Over
Bamboo
Perhaps the best-known dance in Philippine folk dance history, the Tinikling mimics the high-stepping strut of birds in
the Philippine jungles over the bamboo traps the hunters would set for them. Two dancers, usually male and female,
gracefully step in and out of crossed sets of bamboo poles being moved together and apart to the music.
The dance gets faster and faster as it goes on, and it has been an audience favorite for Philippine dance companies
touring the world. Tinikling illustrates the complexity and rhythmic challenge of expressive and intricate Filipino folk
dance forms.
More on Cultural Dances
A recent rebirth in interest for all folk and cultural dances has spurred many resources to appear online. You can
watch these folk dances on YouTube, read about the cultural history on informational sites, and even learn some of
the dances through instructional videos. Check out some of these resources to further develop your knowledge of
Philippine folk dancing:
 Sayam Pilipinas: Plenty of information is available through this informational website, where the dances are
divided into categories and then explained with the help of pictures.
 Cultural Center of the Philippines: This government-run site showcases Philippine arts and features folk dance
companies such as Bayanihan, the National Dance Company of the Philippines, with performance dates and
ticket prices.
 Parangal: A Filipino dance company based out of San Francisco which brings the art of the Philippines to
American audiences.
 ArtsBridge America: The way that dance and culture intertwine all around the world is explored in this
performance curriculum designed to teach about cultural dances of the world.
 Ritwal: A DVD featuring several different types of Philippine folk dancing, this is a visual feast for anyone
interested in the genre.
Ancient to Modern Dance History
The history of dancing in the Philippines is a long and rich story that shows how intertwined the dances are with daily
life and important events. Learn a few of the dances in order to really increase your understanding and appreciation
of this dance genre; while the choreography may seem difficult at first, a little focused study can go a long way.
LET’S INITIATE!
1. Explain festival in 3 sentences.

_____________________________________________________________________
_____________________________________________________________________
SCP-ART100 | 136

2. Cite at
least three festivals in the Philippines and discuss each festival.
____________________________________________________________________
____________________________________________________________________
3. Give at least three artists in the Philippines who were known in the field
festivals.
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. Why is there a need to study the different festivals in the Philippines?
_______________________________________________________________
_______________________________________________________________
2. How are you going to promote to your foreign friends the different festivals in
the Philippines?.
_______________________________________________________________
_______________________________________________________________
LET’S INFER!
Activity 6.1: Create an organizer which shows the concept about the different
festivals in the Philipines.
LET’S INITIATE!
1. What does it mean by Philippine folkdances?
SCP-ART100 | 137
_____________________________________________________________________
_____________________________________________________________________
2. How would you describe the folkdances in the Philippines.
____________________________________________________________________
____________________________________________________________________
3. Cite at least three folkdances in the Philippines and describe each dances?
____________________________________________________________________
____________________________________________________________________
LET’S INQUIRE!
questions below.
1. What if you are given a chance to perform one of the famous folkdances in
the Philippines? What would it be and Why?Justify your response.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. If you were a dancer during this time, how are you going convince
personswho do not like folkdance?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
LET’S INFER!
Activity 6.2: Create an on organizer discussing the different folkdances in the
Philippines.
SCP-ART100 | 138
SCP-ART100 | 139

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ST.

JOHN PAUL II COLLEGE OF DAVAO

COLLEGE OF TEACHER EDUCATION

SIMPLIFIED COURSE PACK (SCP) FOR SELF-DIRECTED

ART100 – TEACHING ARTS IN THE ELEMENTARY

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

Vision By 2023, a recognized professional institution providing quality, economically

Course Code/Title ART100/-TEACHING ARTS IN THE ELEMENTARY GRADES

“Based 40” Cumulative Averaging Grading System

ART100- Simplified Course Pack (SCP)

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

SCP- Topics: Final Period

2.1 Art in the Philippines Week 5 5.2 Romanticism Period

Week 2 5.3 Dance and Different Types of Dances

2.3 Baroque Art

3.1 NeoClassic Period Week 6

Week 6 Final Examination

Welcome Aboard! The course deals with the Educational

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

Art may be characterized in terms of mimesis (its representation of reality), expression,

Art is often examined through the interaction of the principles and elements of art.

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

Week - 1.2 The Types Of Art

What are the Types of Art?

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

Example of Abstact Art

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

COLLEGE OF TEACHER EDUCATION

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Mosaic Physically Detached Yet Academically Attached Art

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

What are Elements and Principles of Arts?

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached

COLLEGE OF TEACHER EDUCATION

Physically Detached Yet Academically Attached