CG Art 5 (December 2013).docx

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Republic of the Philippines

Department of Education

DepEd Complex, Meralco Avenue

Pasig City

K to 12 Curriculum GuideART

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December #$%&



' to %# A)*C ED+CA*-. C+RR*C+/+M

C-.CEP+A/ 0RAME1-R'

oth the Music and the Arts curricula focus on the learner as recipient of the 2no3ledge, s2ills, and values necessary for artistic expression and cultural literacy4

he design of the curricula is student5centered, based on spiral progression of processes, concepts and s2ills and grounded in performance5 based learning4 hus, thelearner is empo3ered, through active involvement and participation, to effectively correlate music and art to the development of his6her o3n cultural identity and the

expansion of his6her vision of the 3orld4

As Music and Arts are performance5based disciplines, effective learning occurs through active experience, participation, and performance, creative expression,

aesthetic valuation, critical response, and interpretation4 he s2ills that are developed include reading6analy7ing, listening6observing, performing, (singing, using musical

instruments, movement, acting, and playing, using different art materials, techni8ues and processes, responding, composing, and

creating4 ()ee 0igure % and 0igure #"

he philosophical foundations upon 3hich standards and competencies are based include9 A Process of Education by :erome runer, Performance5ased /earning

by Cleve Miller, Aesthetic Education by ennett Reimer, Multiple *n telligences by ;o3ard ardner, A )tructure for Music Education by Ronald homas, ongs and

amboo by :ose Maceda, Compendium on the ;umanities9 Musical Arts produced by the .ational Research Council of the Philippines, Cultural Dictionary for 0ilipinos by

helma 'intanar and Associates, Creative and Mental ro3th by <i2tor /o3enfeld and 14 /ambert rittain, Discipline5ased Art Education by Elliot Eisner, Encyclopedia

of Philippine Arts and u2las )ining, both produced by the Cultural Center of the Philippines4

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P;*/-)-P;> A.D RA*-.A/E 0-R AR)

he Arts has been present since the beginning of civili7ation as it is an essential means for man to live and communicate 3ith others4 *t has been used to enhance

man?s life and surroundings, to express his thoughts, dreams, and spiritual beliefs, and to share his o3n and his community?s aspirations, celebrations, and events4 Arts

records, reflects, and rearranges man?s life and existence4

he Arts is a visuali7ation of a people?s history and uni8ueness, a reflection of their creativity and accomplishments, and a visible expression of their distinct 3ay of

thin2ing, communicating, reasoning, and 3orshiping4 *t is expressed in a uni8ue symbol system that is visual, 2inetic and tactile4 ;o3ard ardner, an educator and

psychologist, affirms that the arts develop the child?s @)PA*A/, *.RAPER)-.A/, /*.+*)*C A.D '*.E);E*C *.E//*E.CE)@ for the Arts develop a distinct 3ay of

seeing, thin2ing, communicating, and creating in a person4 0urthermore, Art develops and increases a person?s ability to apply creative and ne3 solutions, for ne3

problems in our 3orld4 )chools, therefore, need to develop the multiple intelligences of a student through the arts4 he '5 %# Arts Curriculum see2s to address these needs

of our students for the #%st Century4

he #%st

Century is a different 3orld9 it is highly visual, 3ith a proliferation of images seen not only in static media li2e maga7ines, boo2s, paintings and posters4.o3 images are 2inetic and accessible in various media li2e television, outdoor advertisements, movies, cell phones, and ne3 technologies li2e iPads, iPods, D<D

players, personal computers, and tablets4 Artists create, upload and share via the *nternet, images, sounds, texts, films, videos, pictures, art3or2s and designs4 hese are

readily available and interactive, involving the vie3er to react, comment and utili7e these visuals through the *nternet4 eaching Art to students is one 3ay for them to process

and interpret the barrage of images and sounds, in a critical and intelligent manner4

he focus of the '5%# Art curriculum is P;*/*PP*.E AR, C+/+RE and ;ER*AE, appreciating the d iversity of our local artists, our arts, crafts, and

indigenous materials to strengthen the student?s identity of being 0ilipino, before he6she is introduced to the art of other countries4 he modules guide educators and provide

our students 3ith art experiences, concepts, and processes that are presented in a )P*RA/ PR-RE))*-. of difficulty and depth from 'indergarten to rade %#4

he approach is C;*/D5CE.ERED and ;A.D)5-. in creating art using locally available materials4 *t develops the student?s imagination and individual

expression, and his6her CR**CA/ ;*.'*. )'*//) through in8uiry into the aesthetic 8ualities of his 3or2, the 3or2 of others and of artists from the Philippines and

other parts of the 3orld4 *t culminates in connecting art to other subect areas and provides exposure and apprenticeship to professionals in various art5related fields so the

student can discover and consider the different career opportunities in the arts4

' to %# Arts Curriculum uide December #$%& Page & of =&




0igure %4 he Curriculum 0rame3or2 of Music and Art

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Grade 12Mastery of Proficiency in the chosen form or genre

Grade 11Mastery of Proficiency in the chosen form or genre

Grade 10Application of Contemporary Music and Arts

Grade 9Application !estern Music and Arts

Grade "Application Asian Music and Arts

Grade #Application Philippine $ol% Music and Arts

Grade &Application for Appropriate Mastery and Ac'uisition

of (%illGrade )*+ploration *lements , Processes

Grade -$ormal .ntroduction to *lements , Processes

Grade /Preliminary Ac'uisition of asic Knoledge and

(%illGrade 2*nhanced nderstanding of $undamental Processes

Grade 1.ntroduction to the $undamental Processes

Kindergarten*+posure to the 3ifferent Music 4 Art Processes

5*+periential 6earning7

0igure #4 Content of Music and Art per rade /evel

' to %# Arts Curriculum uide December #$%& Page ! of =&




able %4 asic Reference for Music and Art Content

Music Elements Arts Elements and Principles Music Processes Art Processes

ine

5creating" 5creating"

t"

Contrast

.o formal instruction in harmony

ying (transference"

from ' to &

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/EAR.*. AREA )A.DARD9 he learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,

analysis and performance for his6her self5development, celebration of his6her 0ilipino cultural identity and diversity, and

expansion of his6her 3orld vision4

'E> )AE )A.DARD)9

'5& B5 5 %$

he learner demonstrates

understanding of fundamental

processes through

performing, creating, and responding,

aimed to3ards the development of

appreciation of music and art, and

ac8uisition of basic 2no3ledge and

s2ills4

he learner demonstrates understanding of

basic elements and concepts through

performing, creating, and responding,

aimed to3ards the development of

appreciation of music and art, and

ac8uisition of basic 2no3ledge and s2ills4

he learner demonstrates understanding

of salient features of music and art of the

Philippines and the 3orld, through

appreciation, analysis, and performance, for

self5development, the celebration of

0ilipino cultural identity and diversity, and

the expansion of one?s 3orld vision4

' to %# Arts Curriculum uide December #$%& Page of =&




RADE /E<E/ )A.DARD)9

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he learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, andresponding4

he learner demonstrates basic and fundamental processes in music and art, through performing, creating, listening and observing, and responding4

he learner has ac8uired the basic and fundamental processes through performing, creating, listening and observing, and responding, to3ards the

development of appreciation of music and art, and the ac8uisition of basic 2no3ledge and s2ills4

hrough the formal introduction of elements, the learner can identify the basic 2no3ledge and s2ills in music and art, to3ards self5development, the

celebration of 0ilipino cultural identity and diversity, and the expansion of one?s 3orld vision4

hrough exploration, the learner demonstrates a deeper understanding of basic 2no3ledge and s2ills in music and art, to3ards self5development, the

celebration of 0ilipino cultural identity and diversity, and expansion of one?s 3orld vision4

hrough application, the learner demonstrates understanding of the basic concepts of and processes in music and art, to3ards self5development, the

celebration of 0ilipino cultural identity and diversity, and the expansion of one?s 3orld vision4

he learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing, and

responding to3ards appreciation of the cultural richness of the different provinces in the Philippines4

he learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self5

development, the celebration of 0ilipino cultural identity and diversity, and the expansion of one?s 3orld vision4

he learner demonstrates understanding of salient features of 1estern music and the arts from different historical periods, through appreciation, analysis, and

performance for self5development, the celebration of 0ilipino cultural identity and diversity, and the expansion of one?s 3orld vision4

he learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self5

development, the celebration of 0ilipino cultural identity and diversity, and the expansion of one?s 3orld vision4

' to %# Arts Curriculum uide December #$%& Page F of =&



' to %# A)*C ED+CA*-. C+RR*C+/+MRADE !

C-.E.

rade !5 0*R) G+ARER

*4 Elements9

%4 /*.E)%4% crosshatching techni8ue

to simulate &5

dimensional effect and

visual texture

#4 );APE)60-RM)

#4% geometric &5dimensional

forms

&4 )PACE

&4% distance or area

**4 Principles9

B4 R;>;M

B4% repeated motifs

!4 A/A.CE

!4% symmetrical and

asymmetrical

***4 Process9

4 DRA1*.

4% dra3ing of archeological

artifacts

4# dra3ing of Philippine

houses, buildings, andchurches from different

historical periods (on5

the5spot"

C-.E.

)A.DARD)

he learner …

demonstratesunderstanding of lines,

shapes, and spaceH and

the principles of rhythm

and balance through

dra3ing of archeological

artifacts, houses,

buildings, and churches

from historical periods

using crosshatching

techni8ue to simulate &5

dimensional and

geometric effects of anart3or24

PER0-RMA.CE

)A.DARD)

he learner …

creates different artifacts andarchitectural buildings in the

Philippines and in the locality

using crosshatching

techni8ue, geometric shapes,

and space, 3ith rhythm and

balance as principles of

design4

puts up an exhibit on

Philippine artifacts and houses

from different historical

periods (miniature or replica"4

/EAR.*. C-MPEE.C>

he learner …

%4 identifies events,practices, and culture

influenced by coloni7ers

3ho have come to our

country by 3ay of trading4

#4 gives the illusion of

depth6distance to simulate

a&5dimensional effectby

usingcrosshatching and

shading techni8ues in

dra3ings (old pottery,

boats, ars, musical

instruments"4

&4 sho3s, describes, and

names significant parts of

the different architectural

designs and artifacts found in

the locality4

e4g4bahay2ubo, torogan,

bahaynabato, simbahan,

carcel, etc4

B4 reali7es that our

archipelago is strategically

located and made us part

of a vibrant tradingtradition (Chinese

merchants, alleon rade,

sil2 traders"

!4 appreciates the importance

of artifacts, houses,

clothes, language, lifestyle

C-DE

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A!E/5*b

A!E/5*c

A!P/5*d

A!P/5*e

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C-.E.C-.E.

)A.DARD)

PER0-RMA.CE

)A.DARD)

/EAR.*. C-MPEE.C>

5 utensils, food, pottery,

furniture 5 influenced by

coloni7ers 3ho have come

to our country (Manunggul

ar, balanghai,

bahaynabato, 2undiman,

abaldon schools,vaudeville, )panish5inspired

churches"4

4 creates illusion of space in

&5dimensional dra3ings of

important archeological

artifacts seen in boo2s,

museums (.ational

Museum and its branches in

the Philippines, and in

old buildings or churches in

the community4

4 creates mural and dra3ings

of the old houses, churches

or buildings of his6her

community4

F4 participates in putting up a

mini5exhibit 3ith labels of

Philippine artifacts and

houses after the 3hole

class completes dra3ings4

=4 tells something abouthis6her community as

reflected on his6her

art3or24

C-DE

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A!PR5*g

A!PR5*h

A!PR5*

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C-.E.

rade !5 )EC-.D G+ARER

*4 Elements9

%4 /*.E

%4% straight and curved

#4 C-/-R#4% complementary

&4 )PACE

&4% one5point perspective *n

landscape dra3ing

**4 Principles9

B4 ;ARM-.>

B4% created through the

right proportions of

parts

***4 Process9

!4 PA*.*.

!4% landscapes of

important places in the

community (natural or

man5made"

C-.E.

)A.DARD)

he learner …

demonstrates

understanding of lines,colors, space, and

harmony through

painting and

explains6illustrates

landscapes of important

historical places in the

community (natural or

man5made"using one5

point perspective in

landscape dra3ing,

complementary colors,

and the right

proportions of parts4

PER0-RMA.CE

)A.DARD)

he learner …

s2etches natural or man5made

places in the community 3iththe use of complementary

colors4

dra3s6paints significant or

important historical places4

/EAR.*. C-MPEE.C>

he learner …

%4 identifies the importance of

natural and historical

places in the communitythat have been designated

as 1orld ;eritage )ite

(e4g4, rice terraces in

ana3e, atadH Paoay

ChurchH Miag5ao ChurchH

landscape of atanes,

Callao Caves in CagayanH

old houses in<igan, *locos

.orteH and the torogan in

Mara3i"

#4 identifies and describes the

architectural or natural

features of the places

visited or seen on pictures4

&4 reali7es that artists have

different art styles in

painting landscapes or

significant places in their

respective provinces (e4g4,

0abian dela Rosa,

0ernando Amorsolo, Carlos

0rancisco, <icente

Manansala, :ose lanco,<ictorioEdades, :uan

Arellano,

Prudencio/amarro7a, and

Manuel aldemor"

C-DE

A!E/5**a

A!E/5**b

A!E/5**c

/EAR.*.

MAER*A/)

' to %# Arts Curriculum uide December #$%& Page &F of =&




C-.E.C-.E.

)A.DARD)

PER0-RMA.CE

)A.DARD)

/EAR.*. C-MPEE.C>

B4 appreciates the artistry of

famous 0ilipino artists in

painting different

landscapes and is able to

describe 3hat ma2es each

artist?s masterpiece uni8ue

from others4

!4 s2etches and uses

complementary colors in

painting a landscape4

4 utili7es s2ills and

2no3ledge about

foreground, middle ground,

and bac2ground to

emphasi7e depth in

painting a landscape4

4 identifies and discusses

details of the landscape

significant to the history of

the country4

C-DE

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A!P/5**e

A!PR5**f

A!PR5**g

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MAER*A/)

rade !5 ;*RD G+ARER

*4 Elements9 he learner … he learner … he learner …

%4 /*.E

%4% thic2 and thin demonstrates creates a variety of prints %4 discusses the richness of

%4# straight, curved, and understanding of ne3 using lines (thic2, thin, Philippine myths and

agged printma2ing techni8ues agged, ribbed, fluted, 3oven" legends (MariangMa2iling,#4EI+RE 3ith the use of lines, to produce visual texture4 ernardo Carpio, d3ende,

#4% ribbed, fluted, 3oven, texture through stories capre, sirena, Darna, A!E/5***a

carved and myths4 di3ata, DalagangMagayon,

etc4" from the local

**4 Principles9 community and other parts

&4 C-.RA) of the country4

&4% carved, textured areas

' to %# Arts Curriculum uide December #$%& Page &= of =&




C-.E.

and solid areas

&4# thic2, textured lines and

fine lines

***4 Process9

B4 PR*.MA'*.B4% linoleum or rubber print

or 3ood print of a

Philippine mythological

creature

C-.E.

)A.DARD)

PER0-RMA.CE

)A.DARD)

/EAR.*. C-MPEE.C>

#4 explores ne3 printma2ing

techni8ue using a sheet of

thin rubber (used for soles

of shoes",linoleum, or any

soft 3ood that can be

carved or gouged to create

different lines and textures4

&4 identifies possible uses of

the printed art3or24

B4 sho3s s2ills in creating a

linoleum, rubber or 3ood

cut print 3ith the proper

use of carving tools4

!4 creates variations of thesame print by using

different colors of in2 in

printing the master plate4

4 follo3s the step5by5step

process of creating a print 9

4% s2etching the areas to

C-DE

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A!E/5***c

A!P/5* **d

A!PR5***e

/EAR.*.

MAER*A/)

be carved out and

areas that 3ill remain

4# carving the image on

the rubber or 3oodusing sharp cutting

tools

4& preliminary rubbing

4B final in2ing of the plate

3ith printing in2

4! placing paper over the

plate, rubbing the

bac2 of the paper

A!PR5** *f

' to %# Arts Curriculum uide December #$%& Page B$ of =&




C-.E.C-.E.

)A.DARD)

PER0-RMA.CE

)A.DARD)

/EAR.*. C-MPEE.C>

4 impressing the

print

4 repeating the process

to get several editions

of the print

4 3or2s 3ith the class toproduce a compilation of

their prints and create a

boo2 or calendar 3hich

they can give as gifts, sell,

or display on the 3alls of

their school4

F4 utili7es contrast in a carved

or textured area in an

art3or24

=4 produces several editionsof the same print that are

3ell5in2ed and evenly

printed4

%$4 participates in a

school6district exhibit and

culminating activity in

celebration of the .ational

Arts Month (0ebruary"

C-DE

A!PR5***g

A!PR5***h

/EAR.*.

MAER*A/)

RADE !5 0-+R; G+ARER*4 Elements9 he learner … he learner … he learner …

%4 C-/-R

%4% primary demonstrates demonstrates fundamental %4 ident ifies the materials

%4# secondary understanding of colors, construction s2ills in ma2ing a used in ma2ing&5

#4 );APE shapes, space, &5dimensional craft that dimensional crafts 3hich A!E/5*<a

#4% geometric repetition, and balance expresses balance, artistic express balance and

#4# organic through sculpture and design, and repeated variation repeated variation of

' to %# Arts Curriculum uide December #$%& Page B% of =&




C-.E.C-.E.

)A.DARD)

PER0-RMA.CE

)A.DARD)

/EAR.*. C-MPEE.C> C-DE/EAR.*.

MAER*A/)

&4 )PACE

&4% distance

&4# area

**4 Principles9B4 REPE**-.

B4% colors, shapes

!4 A/A.CE

!4% structure and shape

***4 Process9

4 )C+/P+RE A.D &5D

CRA0)4% mobile

4# papier5mJchK or clay

ar 3ith geometric

patterns

4& paper beads (bracelet,

nec2lace, earring, *D

lanyard, etc4

&5dimensional crafts4 of decorations and colors

%4 papier5mJchK ars

3ith patterns

#4 paper beads

constructs &5D craft using

primary and secondary colors,

geometric shapes, space, and

repetition of colors to sho3

balance of the structure and

shape

&4 mobile

shapes and colors

%4% mobile

%4# papier5mJchK ar

%4& paper beads

#4 identifies the different

techni8ues in ma2ing &5

dimensional crafts

#4% mobile

#4# papier5mJchK ar

#4& paper beads

&4 explores possibilities on

the use of created &5D

crafts4

B4 applies 2no3ledge of

colors, shapes, and balance increating mobiles, papier5

mJchK ars, and paper

beads4

!4 displays artistry in ma2ing

mobiles 3ith varied colors

and shapes4

4 creates designs for ma2ing

&5dimensional crafts

4% mobile

4# papier5mJchK ar

4& paper beads

4 sho3s s2ills in ma2ing apapier5mJchK ar

F4 creates paper beads 3ith

artistic designs and varied

colors out of old maga7ines

and colored papers for

nec2lace, bracelet, *D

lanyard

A!E/5*<b

A!E/5*<c

A!P/5*<d

A!P/5*<e

A!PR5*<f

A!PR5*<g

A!PR5*<h



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Documents

CG Art 5 (December 2013).docx