DAVAO CENTRAL COLLEGE,

INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

Week 5

Unit 2: Introduction to Art Appreciation

Topic: Artists and Artisan

Learning Outcomes:
1. Outline the history of the emergence of artists and
artisans
2. Recognize and critically discuss the function of state
sponsorship in the field of arts and culture through the
National Artists Award and the Gawad sa Manlilikha ng Bayan
(GAMBA)
3. Identify and define the different individuals and groups
who take on varied roles in the world of art and culture
4. Classify the practices of artists in terms of forms,
medium, and technique.

Concept Digest (Discussion)

“When the ARTIST is

alive in any person,
The most whatever his kind of
resilient work may be, he
becomes an inventive,
qualities of man
searching, daring,
is his CREATIVITY and self- expressing
and IMAGINATION. creature.”
Robert Henri’s

Answer the following questions.

1. What art form can you most relate to and appreciate? It
may be architecture, sculpture, painting, music,
literature, film, dance, performance/theatre, and
living traditions.

2. Name an artist whose works you really like.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

3. Is there a particular work of art created by him or

her that you relate to and appreciate? What is it and
why?

4. Based on what you wrote, make an assumption about what

the painting means?

In Peter Ducker’s seminal book Post-Capitalist Society

(1993), he stated that “the real controlling resource and the
absolutely decisive factor of production is neither capital not
land nor labor. It is knowledge. Instead of capitalists and
proletarians, the classes of the post capitalist society are the
knowledge workers and the service workers.”

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

Artists have treated a long history. Their roots can

likewise be traced in one of the major milestones in human
civilization. In the first episode of the video series “New Ways
of seeing,”

He asserted that “these first invented a way to get the

three-dimensional world into two dimensions and attach value
their own ideas. And all of the history of art flows forth from
this invention. “He is apparently referring to the drawings and
painted images of animals, hunting scenes, and a variety of
symbolic figures created during the Stone Age.

Examples of these are scattered all around the world, from

France, Spain, Namibia, Australia, and Argentina to name a few.
Of course, these works were not yet subsumed in the highly
systematized art world, let alone considered as “art”.

Through the exploration of his immediate environs, trade,

and other experimentations, new modes, media, and techniques
brought to light a wide array of artworks that instantiate the
wealth that can be done when the artist’s vision is tapped,
harnessed and realized. But the most integral development that
allowed this identity of an “artist” to fully emerge is the
systematization and sophistication that his world – the art world
– has become.

The impulse to create is at the core of human civilization,

much like the impulse to communicate through language. Early on,
artist were embedded in the development of culture, and in turn,
art was nurtured by the varying cultures in which it existed. The
works produced varied from the prosaic to those that explored a
wide range of aesthetic possibilities.

The interaction with these objects was intimate in the sense

that their presence was experienced in a multitude of ways and in
all of the affairs of man:

 Ornamentations in tools and other surfaces

 Weaving patterns in textiles
 Visual features and the design/plan for architectural
structures
 Ritual and burial implements

There are numerous monuments and memorials that are plotted

over the world such as the infamous Vietnam Veterans Memorial in
Washington DC. There are others like the cave paintings that have
an aura of mystery like the Pyramids of Giza or have alluded
comprehension like the Stonehenge.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

The Stonehenge (Wiltshire, England)

It was in this light that artists worked and most of the

time, the products were considered not as artworks at all but
rather as craft or placed under some other category. The use of
the word “embedded” may be taken to mean that what was created
automatically circulated in the operations of society and was not
integral to an art object that the identity of its maker be
known. It did not take long before this changed.

The Artisan and the Guilds

Have you ever wondered why some examples of artistic and

creative production have survived to this day?

Museums are packed with numerous artifacts and interesting

objects from all over the world that have survived centuries for
all us to see. Magnificent structures that are often appreciated
not only for their historical significance but more so for their
aesthetic characteristics that render them unique, become tourist
destinations for those who wish to explore and see the remarkable
façade, interior, and even the minutest of details up close.

Consider the Gothic cathedrals and other megastructures that

were built all over Europe during the Middle Ages. Craftsmen and
builders in the past did not have sophisticated terminologies and
principles that architects and engineers abide by today. They
fulfilled overlapping roles such as the draftsman, architect, and
engineer and even as the builder.

An example of this would be the Cologne Cathedral. In

Germany, it is but one of the many examples of early Gothic
architecture. The account was that master mason Gerhard Ryle
started the project in 1248 but was only completed roughly 600
years later, claiming the record as one of the longest
construction projects to date.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

Detail of the stained glass windows

The Cologne Cathedral
of Cologne Cathedral

What is meant here is a kind of formalization of craft

education in which regulation was set in place. Here, skill
qualification was needed for an apprentice to register under a
particular craft guild. These guilds were prevalent during the
Middle Ages particularly during the thirteenth to fifteenth
century, where towns had formalized groups of artisans or
craftsmen who took on a particular specialization or trade:
 Shoemakers
 Textile and glass workers
 Carpenters
 Carvers
 Masons
 Armorers
 Weapon-makers

Guilds were a type of social fellowship:

 an association structured with rules
 customs
 rights
 responsibilities

A master artisan or craftsman would then be open to hiring

apprentices who would be under his tutelage and instruction. In
these guilds, artistry and technology flourished under one roof.
In the context of the cathedral construction site, the master
mason oversaw the work by numerous men of varying artistic
proclivities and skills, from the smiths (metal work),
carpenters, carriers, and glaziers (stained glass artists).

This brought to light various ways of

thinking about transferring knowledge and
skills by visualizing and articulating the
principles, processes, and tricks of the

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

trade both in words and in print through manuals and

publications.

These printed publications were done cheaply and did not have
the same thoroughness as with handbooks and manuals of biblical
proportions. Aside from funds, another hurdle was the fact that
some of the knowledge that went into production was difficult to
put into words.

The guild niche under

theIn
Fourthe visual
Crowned art, an example of an
Saints
artist strongly influenced by this was
Albrecht Durer. Born in 1471, his father was a
goldsmith; that is why he also apprenticed as
such. Later on, he shifted to the visual arts.
During that time, it was customary to travel
after completing an apprenticeship to gather
more experience and knowledge elsewhere.

His life was ripe with travels, fame and

fortune. One of the biggest credits to his
practice was his dedication and interest in
scholarship with his attendance to a close friend’s meetings of
artist and scholar.

The timeline is a bit skewed; the culture of artisans became

prevalent in the Philippines as well, particularly during the
Spanish colonial period. Formerly done with the spirit of the
communal and the everyday, patron ship changed the way art was
perceived.
Friars, being non-artists themselves, provided the
references that artists could use. During the propagation of the
faith, Spanish friars commissioned a lot of artisans to carve,
paint, and engrave images for churches and public sites. Each
locality had a characterizing style or feature in the way their
depictions were made; the manner in which Boholano artist would
paint saints and scenes were different from those of Rizal or in
Laguna.

Baroque churches that benefitted from the talents of

artists, Spanish colonial churches were also lined with frescos
and ceiling paintings, with a number of them undergoing
restoration in the early 1900s.

Project Kisame is a collective endeavor amongst enthusiast

and advocates who aimed to promote this art form through
documentation, engagement and appreciation of surviving ceiling
paintings in more than 60 churches in the Philippines. Technology

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

and heritage conservation occupied a substantial part of this

project.

One
example
of a
Spanish

architecture
The Church of thethat has been
Most Holy Details of the ceiling the Church
documented
Trinity in is the
Loay, Church of the
Bohol, Most
of the Holy
Most Holy Trinity
Trinity in in Loay, Bohol
Loay,
locally refrerred to as Bohol
in Santisima
1822, the ceiling painting were rendered trompe l’oeil style
Trinidad Parish
depicting biblical scenes. In 2003, it became a National
Historical Landmark. This church was one of those heavily damaged
during the devastating earthquake that rattled Bohol in 2013. The
only section of the structure that remained erected was the bell
tower. Although it is but fragment of the real thing, the photos
taken by Project Kisame were able to document the beauty of the
ceiling paintings prior to its destruction.

The ilustrados or the middle class, along with foreign

guests who wanted souvenirs to take along with them. It was
mentioned that portrait paintings became a fad. But looking
closer at the paintings will reveal the specifically of the style
in which they were painted. Two other important genres for
painting at that time were the tipos del pais and letras y
figuras. The former was watercolor paintings that showcased the
different local inhabitants of the country in different garbs,
and clues to their occupation and status; while the latter
combined the principle of tipos del pais and incorporated it as a
means to illustrate the letters of one’s name or surname.

One key example that illustrated the systematization of art

instruction – a combination of sots of the guild and the art
school – was the establishment Damian Domingo of the Academia de
Dibujo. Known as the best tipos del pais painter, this school
specialized in teaching the miniaturismo style of painting along
the tenets of classical European painting. Eventually, other
schools emerged teaching other genres such as bodegones (still
life) and paisajes (landscapes).

The Artist and His Studio

The big shift that propelled the evolution of the pivotal

role of the artist in the arts started during the Middle Ages up

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

to Renaissance period. Most pivotal developments included the

transformation of the craftsman to an artist or an independent
artist; the widespread patronization of secular art (alongside
the continuous production of works with religious subjects); and
the assertion of cognition, the will, and individuality.

Before the Renaissance Period, artworks were left unsigned.

Artists claiming authorship for their works by affixing their
mark onto the surfaces if their paintings were a big milestone in
the history of the artist. Combined, these resulted in a wider
variety of artworks, not just in form, but more so in style and
technique.

It is interesting to see and learn where

creativity manifest itself, especially since
an artist’s studio is an extension of the
artist himself. The studio model dates back
from the Renaissance.

There were those work stations were segmented

into two, the studiolo and the bottega; the
latter is where the work usually happened.

In France, on the other hand, academies and art salons

became popular as they did not only support the production of art
but also the discourse around them. Criticism and analysis were
highlighted as integral aspects of art engagement and therefore
the display of the artworks through official art salons was
sought for. To be included in the exhibition was deemed an honor,
especially since it did not take a while before it was considered
an arbiter of standards and state.

The beginnings of Industrial Revolution had an interesting

ramification for artists. A compendium of events released the
artists from the limitations that affected the way in which they
produced their works. These included the availability and
portability of materials (i.e., foldable easels and paint in
tubes) and the reliance on the wealthy patrons to place a
commission.

It was during this time that a host of styles developed

side-by-side, allowing artists to fully grasp the potential of
artistic license, with minimal (to no) consideration for the
prevailing tastes and stylistic preferences. During the latter
part of the 1800s, artist began to question the merits of
stringent artistic training and education, but it was during the
1900s that art was truly liberated from the traditions of the
past. Perhaps, it was then that artists found freedom to
articulate their distinct aesthetic way of creative production.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

Other Players in the World of Art

The
terrain in
which the
artist
traverses is
becoming
increasingly
complex. In
the last
century, some
Prominent Roles in the Art of the roles
World with Their Mandatory that have been existent since the
Relationships Exhibition Opening of
beginning of art history have New
"Arctic Hysteria: been
properly dealt with – Art
ascribed with
from Finland" a
name – and legitimized into a
sophisticated network of relationships
and exchanges. This network is what we
call the art world.

In Howard S. Becker’s Art World’s

(1982), he asserted that “all artistic
work, like all human activity, involves the
joint activity of a number, often a large
number, of people. Through their
cooperation, the artwork we eventually see
or hear comes to be and continues to be.
The forms of cooperation may be
ephemeral, but often become more or less
routine; producing patterns of collective
activity we can call an art world.

The existence of art worlds, as well

as the way their existence affects both the
production and consumption of artworks, suggest a sociological
approach to the arts.
It is not an approach that produces aesthetic judgments;
although that is a task many sociologists of art have set for
themselves.
“There is an assumption that an artist works in solitary;
that the only time the external world is allowed in would be when
the work is displayed and when in
circulation.”

It is important to note that with

the complexity of the art world,

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

players are no longer limited to those who undertook formal

instruction in either (or both) production and/or study of art.
Take for instance administrative or managerial roles, both of
which can exist in either institutional or non-institutional
scenarios.

These roles may be broken down to working boards (board of

trustees); directors and assistant directors; managing curators;
and other posts whose interest is the management and operations
of museums, galleries and other art spaces.

One of the most elusive of roles to pin down. Institutional

curators are typically affiliated with museums and galleries,
while independent or freelance curator have the leeway to move
around various projects, platforms, and art spaces in a
multiplicity of terms. Generally, the role of the curator is more
of the interpretation and development of the artworks or the
collection(s) through establishing the significance, relationship
and relevance of these materials – in isolation and/or as part of
a wider narrative. Some of the roles expected of curators are the
ability to research and write, as an arbiter of design and
layout, and deciding for the display and hanging of materials for
exhibition.

In addition, art dealers are those whose direct hand is in

the distribution and circulation of the artworks through a
variety of means, such as direct sales, through galleries, and
the more recent player in the Philippines, auction houses. The
knowledge and insight that art dealers are expected to have
include a specialization in art form, style, medium or period;
market trends, and even the interrelations of other key players
in the art world who will benefit from the circulation and
distribution of the artwork (or artist) he promotes.

As the art world is seen as a socio-economic network, it is

important to note the major difference between museums and
galleries. These are the main institutions that display,
distribute and circulate different artworks; however, they behave
in different ways. The most substantial demarcation that
separates one from the other is the ethics that admonishes
museums from entering into the more market aspects of the art
world.

Production Process

The process of creating an artwork does not necessarily

follow a linear progression. One of the things that one must

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

accept is the fact that the arts have an anarchic dimension to

it, allowing it to fully harness its creative potential. The very
reason why different art styles, periods and movements were made
possible, is because there was a form of flexibility given to
artists in terms of how to conceptualize and execute their ideas
into reality.

The process is essentially tripartite: (1) preproduction (2)

production, and (3) postproduction. The artist always begins with
an idea that he wants to express or communicate with his
audience. It may not necessarily be fully formulated, and so some
form of exposure, research and other approaches may be explored
to get the idea long before actually making the artwork. This
process is of course the preproduction stage. The idea may take a
while to form, or may come as swift as a bolt of lightning.

Some artists, however, birth their ideas when material

manipulation is already underway. This is when preproduction
sometimes seep into the production stage. The execution of the
art may take a variety of forms such as:

 painting
 sculpture
 tapestry
 photograph
 film
 a routine (dance)
 track or composition (music)

Even tricky art forms such as conceptual art, which purports

to be solely concerned with the ideas, take a variety of formats,
and may even be harder to pull off. Some artworks rely on a
precise and skilled execution, while other need only intuition
and a kind of judiciousness in the manipulation of material.

Gathering and sourcing the materials needed for the creation

of the artwork is either subsumed under preproduction or the
production stage. Either way, materials form one of the most
crucial aspects that inform the direction, quality and the final
output itself.

The last stage is the most drawn-out, the postproduction.

Once an artwork is finished, it will then be decided on how it
will be circulated not only in the art world, but the many
publics. If the artist decides that he alone should see the work,
then so be it. But most of the time, if not always, the creation
of the object requires that it be seen, heard, touched and/or
experienced in a variety of ways. Often, it enters into:

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

 a new sphere
 inside the domain of museums
 galleries
 performance halls
 theater
 Art spaces where interaction can take place.

Medium and Technique

Like what was previously mentioned, medium is one of the

aspects of art that directly correlates with its composition and
presumed finality of the artwork. Medium is the mode of
expression in which the concept, idea or message in conveyed. It
may be concrete or tangible, such as

 Paintings
 Sculptures
 Monuments
 Structures;
 Ephemeral or something transient
 Track (recording of sound)
 A film or a performance.

The appreciation or engagement with the artwork is also

affected by the medium spatiotemporally. For concrete works, the
objects physically manifest themselves for a prolonged or lasting
period. For ephemeral work, on the other hand it is durational.

Engagement with Art

The defining roles and nature of exhibitions have had an

interesting evolution, changing alongside the demands of the
society that purports to partake in its display.

In Anna Cline’s The Evolving Role of the Exhibition and Its

Impact on Art and Culture (2012), she wrote that “exhibitions
act as the catalyst of art and ideas to the public; they

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

represent a way of displaying and contextualizing art that makes

it relevant and accessible to contemporary audiences. The art
exhibition, by its nature, holds a mirror up to society,
reflecting its interests and concerns while at the same time
challenging its ideologies and preconceptions. Keeping art
relevant to society and to a diverse audience at any given point
in history is one of the main goals of the art exhibition and
one of the reasons it is so important to the history of art.”

In Paula Marincola’s, What Makes a Great

Exhibition? (2006), it reads that “exhibitions
are strategically located at the nexus where
artists, their works, the arts institution, and
many different publics intersect.”

This opportunity is singular, as most

interactions in the art world are limited to
two players at a time. Exhibitions create an
opportunity in which the different roles in the
art world get to meet, interact, and even enter
into a discussion.

Exhibitions may be long-term or permanent hangs, or it may

be temporary or periodically changing. An artist may have a solo
exhibition or may be included in a two-person showing or even a
group exhibition. There are some instances when an artwork is a
stand-alone or a site-specific work that renders its display
under a slightly different structure or format.

Aside from exhibitions, other opportunities for art

engagement transpire in the classroom (instruction);

 Studio visits
 Lecturer
 Workshops
 Other events that augment the exhibitions (programs)
 Auctions sales
 Art fairs
 Biennials
 Triennials
 Other larger showings of not only artworks but also
where art personalities can flex their influence and
authority.

Publications are also good way to introduce the artwork and

opens it up for appreciation, critique and analysis.
Awards and Citations

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

In history, support for the arts and culture is not limited

to the allocation of funding or patron ship. One of the most
common measures in which artists and other creative producers are
given incentives and honor for their work is through state-
initiated and given awards and citations. The two major awards
given to artists in the Philippines are the:

 Orden ng Pambansang Alagad ng Sining

(Order of National Artists)
 Gawad sa Manlilikha ng Bayan
(National Living Treasures Award)

The conferment of the Order of National

Artists is the “highest national recognition
given to Filipino individuals who have made
significant contributions to the development of
Philippine arts; namely, music, dance, theater,
visual arts, literature, film, broadcast arts
and architecture and allied arts.

The order is jointly administered by the National Commission

for Culture and the Arts (NCCA) and the Cultural Center of the
Philippine (CCP)and conferred by the President of the Philippines
upon recommendation by both institutions”(NCCA, 2015).

The very first recipient of this award was painter Fernando

Amorsolo, who was touted as the “Grand Old Man of Philippine
Art.” He was the sole awardee in the year 1972, a National Artist
for Visual Arts.

At present, there are 66 awardees of this prestigious honor

across different art forms. Some of them were given the award
posthumously, while other were fortunate enough to receive are
the award themselves. Some of the honor and privileges that a
national artist awardee receives are the following:

(1) The rank and title, as proclaimed by the

President of the Philippines
(2) A medallion or insignia and a citation that will
be read during the conferment
(3) Cash awards and a host of benefit (monthly life
pension, medical and hospitalization benefits,
life insurance coverage)
(4) A state funeral and burial at the Libingan ng
Mga Bayani (Heroes’ Cemetery)
(5) A place of honor or designated area during
national state functions, along with recognition
or acknowledgement at cultural events
Conferment of the 2009 and 2014 Order of
National Artists Award

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

The Gawad sa Manlilikha ng Bayan or the National Living

Treasures Award was created in 1992 under the Republic Act No.
7355. Also, under the jurisdiction of the National Commission for
Culture and the Arts (NCCA), the NCCA (2015) “through the Gawad
sa Manlilikha ng Bayan Committee and an Ad Hoc Panel of Exports,
conducts the search for the finest traditional artists of the
land, adopts a program that will ensure the transfer of their
skills to others and undertakes measures to promote a genuine
appreciation of and instill pride among our people about the
genius of the Manlilikha ng Bayan.” It was conferred to three
outstanding artists in music and poetry back in 1993. They are
Ginaw Bilog, a master of the Ambahan poetry;

The medal given to

the recipients of
the distinction
Gawad sa Manlilikha
ng Bayan (GAMABA)

The first batch of recipients of

GAMABA: Ginaw Bilog, Masino
Intaray, and Samaon Sulaiman

The recipients of the GAMABA are sought under the

qualification of a “Manlilikha ng Bayan” who is a “citizen in any
traditional art uniquely Filipino whose distinctive skills have
reached such a high level of technical and realistic excellence
and have been passed on to and widely practiced by the present
generation in his/her community with the same degree and artistic
competence” (NCCA, 2015).
This artists’ practice may fall under the following
categories:
 Folk
 Architecture
 Maritime transport
 Weaving
 Carving
 Performing arts
 Literature
 Graphic and plastic arts
 Ornament
 Textile or fiber art
 Pottery and other artistic expressions of traditional
culture
Activity
Title: Let’s Get Started
Things to do:
Answer the following questions.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

1. What do you think is the role of the artist in the twenty-

first century society?
______________________________________________________________
______________________________________________________________
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______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________

2. How relevant still are the awards National Artists and

GAMABA, not only to the art world, but also to the Filipino
society as a whole?
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________

3. Analyze and critique state-sponsored recognition for artists

and cultural workers. What do you think are some of the
considerations that must be addressed with regard to these?

______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________

Rubric Essay
Scale Description Points
5 points Facts are consistently detailed/precise
and very relevant. Uses correct

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

spelling and grammar effectively almost

all of the time. Addresses the question
completely.
4 points Most facts are detailed/precise and
relevant. Uses spelling and grammar
with considerable accuracy and
effectiveness. Addresses the question,
but left out few details.
3 points Lacks few substantial details and
examples to support ideas. Spelling and
grammar require moderate editing.
Addresses the question, but provided
few details.
2-1 points More specific details and examples are
needed to support opinions. Spelling
and grammar require considerate
editing. Addresses the question, but in
very few details.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

Assessment (Summative)
Title: Looking Beyond
Date of Submission:
Rubric Used:
Things to do:
1. Identify and select one artist. He or she may be Filipino or
foreign; and may be identified with any art form:
architecture, sculpture, painting, music, literature, film,
dance, performance/theater, and living traditions, among
others.

 Research on him or her and select five aspects of his

or her life (events, ideas, works, awards/citations)
that you think have a substantial contribution not only
local or foreign art scene, but also to human history.

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 DAVAO CENTRAL COLLEGE,
INC.
Juan dela Cruz Street, Toril, Davao City
Landline No. (082) 291 1882
Accredited by ACSCU-ACI

References:
R1: Plato. (2000). The Republic. Accessed November 2, 2017.
Retrieved from
http://catdir.loc.gov/catdir/samples/camo31/00024471.pdf
R2: Tolstoy, Leo. (2016). What Is Art? Accessed November 2, 2017.
Retrieved from http://web.mnstate.edu/gracyk/courses/phil%20of
%art/printer-friendly/Tolstoy_on_Art_TWO_COLUMN.pdf
R3:The+
+medal+given+to+the+recepients+of+the+distinction+Gawad+sa+Manlil
ikha+ng+Bayan+(GAMABA)
R4:https://www.google.com/search?
q=The+first+batch+of+recipients+of+GAMABA%3A+Ginaw+Bilog
%2C+Masino+Intaray%2C+and+Samaon+Sulaiman&tbm
R5:https://www.google.com/search?
q=Conferment+of+the+2009+and+2014+Order+of+National+Artists+Award
+&tbm
R6: https://images.app.goo.gl/6ix19VaDCbHJvMHL7
R7: https://images.app.goo.gl/gqpQJ1ncjfKjqBeQ6
R8: https://images.app.goo.gl/gSiWGT1D5ExvFoR9A
R9: https://images.app.goo.gl/R2q1DNxeuibmfCeU8
R10: https://images.app.goo.gl/qy4EF23v6kusNS8q9
R11: https://images.app.goo.gl/sKZakHFPkEBv6uRd7
R12: https://images.app.goo.gl/fd1kVB48TgMCsRL78
R13: https://images.app.goo.gl/GTzYkpsHQieeVfVu5
R14: https://images.app.goo.gl/wLz7drKp6KkkoKe19
R15: https://images.app.goo.gl/fk4iyXbcCL1nQvwi9
R16: https://images.app.goo.gl/wMzCsLMszkxBwGP47
R17: https://images.app.goo.gl/jbkNYzmw1Q1EAqsU6
R18: https://images.app.goo.gl/EHjcSQ7tV7voji2z9
R19: https://images.app.goo.gl/v115tK7pqVmu46VP8
R20: https://images.app.goo.gl/j6udrg5X5Hu74rcD9

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