ATTACHMENT 1

Republic of the Philippines

Laguna State Polytechnic University
Province of Laguna

LSPU Self-Paced Learning Module (SLM)

Course GEC ELEC 1 Arts and Humanities
Sem/AY Second Semester/2020-2021
Module No. 1.3
Lesson Title The Elements of Visual Arts and Performing Arts
Week
2 WEEKS
Duration
Date April 19-30, 2021
In this module, the students will acquire the elements of music and literature as
Description performing arts. The characteristics and psychological effects of line, form, texture,
of the perspective, color, space, volume, and other elements in visual arts are to be discussed.
Lesson

Learning Outcomes
Intended Students should be able to meet the following intended learning outcomes:
Learning  To explain the relationship of the elements of the different fields of arts
Outcomes  To explain how elements are presented in the different artwork
Targets/ At the end of the lesson, students should be able to:
Objectives  Develop one’s aesthetic sense
 Develop the ability to perceive or recognize the true color of objects

Student Learning Strategies

Online Activities
(Synchronous/
Asynchronous)
Offline Activities Lecture Guide
(e-Learning/Self- The Elements of Visual Arts
The artist utilizes the mediums and puts together elements to create a work of art. The
Paced) medium is the physical means through which he can come up with a work of art, and
the elements are its quantities or properties. An element of art can be achieved
through the use of a particular medium. To create color, for example, the artist uses
and mixes pigments. The elements of visual arts are line, color, texture, perspective,
space, form, volume, light, and shadow.

Line is an important element at the disposal of every artist. Through the lines, as in

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Republic of the Philippines

Laguna State Polytechnic University
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painting or sculpture, the artist represents figures and forms.

Lines always have direction. They are always moving. Lines, as used in any work Of art,
may be either straight or curved.

Man usually lies prone when asleep or when at rest and stands erect when in action.
He stands stiff and straight when resistant or stern. In contrast, he relaxes when in a
playful mood, with the lines of his body falling into easy curves. When a man is in
motion, he bends forward; when he encounters an opposing force, he braces against it.
The greater the opposing force, the sharper will be the angle of his body and the
straighter the line will be.

Man has learned that Certain emotional states find expression in definite positions. He
associates these emotions with lines. When given a work of art, man calls upon his
unconscious mind with its accompanying emotional state. A straight line is the basic
framework of many forms, but it lacks softness and flexibility. Straight lines, however'
Suggest efficiency, simplicity, and strength. Straight lines depict flexibility, buoyancy
and grace. The straight line moves in one direction only. It may either be horizontal'
vertical, or diagonal.

Horizontal lines are lines of repose and serenity. They express ideas of calmness and
quiescence. Horizontal lines a-re found in reclining persons, in landscapes, calm bodies
of water and in the distant meeting Of the earth and sky in what is commonly called
the horizon.

Vertical lines are lines that denote action. They suggest poise, balance, force'
aspiration, exaltation, and dynamism. Vertical lines seen in a man standing straight' a
tall tree, and in statues of saints and heroes give an impression of dignity. Vertical lines
also tend to express as well as arouse emotions of exaltation and inquietude; this is
evident in monumental architecture. The Gothic cathedrals express the
aforementioned sentiments that possessed the soul of Northern Europe in the later
Middle Ages.

Diagonal lines suggest action, life, and movement. They give animation to any
composition in which they appear. Almost every object in action assumes a diagonal
line. A running person makes a diagonal line with his body and legs. The degree of
action is shown by the angle the diagonal makes in relation to the ground.
As masters in any art try to perfect their technique, they are able to work more or less
instinctively, and they begin to express themselves more and more through the
freedom, buoyancy, and grace of curved lines. They have also learned to restrict the use
of straight lines to types of work, the structural requirements of which are steadiness
and force.

Curved lines suggest grace, subtleness, direction, instability, movement, flexibility,

joyousness, and grace. They are never harsh or stern since they are formed by a
gradual change in direction. They tend to impart these qualities to any work where
they are used. The restrained curved lines exemplified in the woman's body and the

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Republic of the Philippines

Laguna State Polytechnic University
Province of Laguna

bamboo stem where according to Philippine legend, man and woman sprang, is
depicted in a mural by the late artist Carlos "Botong" Francisco.
Crooked or jagged lines express energy, violence, conflict, and struggle. Lines may also
be classified into three groups: lines which follow or repeat one another, lines which
contrast with one another, and transitional lines which modify or soften the effect of
others.
Repetition occurs when two or more lines are drawn within a corner. Lines that are in
opposition to each other form a contrast. When a curved line cuts across a corner from
an opposition line to another, it forms a transitional line. Transitional lines modify the
sharpness of vertical and horizontal lines giving a harmonizing effect. In painting,
there should be an organic unity of lines to produce balance and symmetry, proportion
of lengths and widths, and rhythm.

Color
Of all the elements of visual arts, color has the most aesthetic appeal. Delight in color is
a universal human characteristic. Color is a property of light. When light goes out,
color goes with it. The light of the sun contains all the colors of the spectrum: violet,
indigo, blue, green, yellow, orange, and red. These colors are so blended that they yield
no appearance of color. When a beam of light passes through a prism, the different rays
of color are separated so we are able to see and identify them from each other. When
light strikes a surface, some of the color rays are absorbed while others are reflected.
Others pass through, especially when the object is transparent. Most surfaces absorb
all the color rays except those which yield a single color sensation and therefore
appear to be of that color. A blue dress absorbs all the color rays except the blue ray
which it reflects. A red ball absorbs all the color rays except the red ray which it
reflects. The color of an object therefore is determined by the rays which are reflected
to the eyes of the beholder. Objects that appear to be black absorbed practically all the
color rays and reflect none, while objects that appear white reflect all the color rays
equally. Gray is due to the partial reflection of the color rays. White, gray, and black
have no color quality. They are called neutral colors.
Three Dimensions of Color
Color has three dimensions or attributes: hue, value, and intensity.

Hue

Hue is the dimension of color that gives color its name. When we say the flower is
yellow, we are naming its hue. Color names such as red, blue green, violet, and yellow
indicate hue. Blue, red, and yellow are the primary hues. If these primary hues are
mixed in equal parts, the secondary hues are produced. The secondary hues are
orange, green, and violet. Orange is produced by mixing red and yellow; green by
mixing yellow and blue; and violet by mixing blue and red.

Colors may either be warm or cool. Red, orange, and yellow are the warm hues. They
are associated with objects like the sun, fire, and other sources of heat. They tend to
impart warmth to any composition in which they are used. They are conspicuous,
cheerful, stimulating, vivacious, joyous, and exciting. They are suggestive of impetuous

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Province of Laguna

or instinctive action. They are called advancing colors because they have an effect of
advancing or coming towards you. The cool colors are those where blue predominates
like green, blue-green, blue, and blue-violet. They cause surfaces covered with them to
appear to recede. They suggest distance. They are calm, sober, restful, and
inconspicuous.

Red, the color of fire and blood, is the warmest, most vigorous, and most exciting of the
colors. It stands for passion and energy. Yellow, the color of light, is the most brilliant,
cheerful, and exultant of the colors. It suggests cheerfulness, magnificence, life, and
splendor. It serves to balance the warm colors like red and orange. Green is the color
for vegetation and symbolizes life and freshness. Violet represents shadows and
mysteries; black, despair, death and pain; orange suggests deliciousness and warmth.
Blue, the color of the sky and of deep and still water, is the coolest and the most
tranquil of the colors. It arouses the feelings of peace and quietness.
Color and line should not evoke an emotion as much as express it. The painting must
express the emotion intended by the artist. Unless the spectator is made aware Of this
emotion as truly there in the canvas, the painting is not aesthetic at all (Panizo and
Rustia, 1995). Through color and line, painting moves the spectator.

Value, sometimes called chiaroscuro, refers to the lightness or darkness of a color. It is

a quality which depends on the amount of light and dark in color. They give the
expression of depth and solidity and lend form to paintings.
An understanding of values will help the artist use colors to the best advantage. It will
offer important suggestions for the arrangement of color values in interior decoration.
The floor should be the darkest in the room, the walls should be lighter, and the ceiling,
the lightest. If the color of the floor is lighter than the wall, it will not give the feeling of
being a solid foundation.
Tints are values above the normal and shades are values below the normal. Pink is a
tint of red, maroon is a shade of red. Sky blue is a tint, navy blue is a shade.
The value of a hue can be changed. We raise hue by adding more light so that it reflects
more light and lower it by reducing the light it can reflect.

Intensity
Intensity, another dimension of color, refers to its brightness or darkness. It gives color
strength. Differences in intensity may be described as full intensity, two-thirds
intensity, and two-thirds neutral. Two colors may be both blue but one is more intense
than the other. When it is dulled, it is said to be partly neutralized. The more black or
white is added, the weaker the intensity becomes.
Color plays an important role in the works of artists. Painters use one color to balance
and enrich the other and to awaken the emotional responses of the viewer. Although
painting is known as the art of color, color is also important in sculpture and
architecture. Buildings are painted; bronze is selected for its rich brown color and
marble for its whiteness.

Color Harmonies
There are two kinds of color harmonies: related color harmonies and contrasted color

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harmonies.

Related color harmonies

Related color harmonies may either be monochromatic or adjacent. Monochromatic
harmony is made up of several tones of one hue, like for instance orange, tan, brown,
and other tones from the orange family. Monochromatic harmonies are the simplest
and easiest to use. Different tones of the same hue all have something in common, so it
is easy for them to agree.
In adjacent or neighboring harmony, two or three neighboring hues on the color circle
are used together. For example, tones of green, yellow, and orange can produce a
delightful harmony. They have something in common because there is yellow in green
And in orange. Good adjacent harmonies can be produced by using other neighboring
colors like yellow, orange, and red or orange, red, and violet.

Contrasted Color Harmonies

Colors which lie directly opposite each other in the color circle are called
complementary colors. Red and green, orange and blue, and violet and yellow are
complementary colors. They contrast with each other strongly; therefore, they are
more difficult to use harmoniously than the related color combinations.

Psychology of Colors
One important thing the artist has to remember is that colors are known to have varied
psychological and emotional connotations. Black, for example, is associated with
death and gloom; white stands for purity and innocence. Blue is deemed the color of
heaven. Red is associated with blood, signifies anger, provokes fear, and impels people
to action. Orange helps a person be assertive. Green, the color of nature, promotes the
feeling of well-being. It implies happy and restful association and natural abundance. It
is wise for the artist to remember these psychological connotations when choosing
color for his work. Architects, for example, are known to use different color
relationships for a church and for a reception room in order to create the right mood
among the observers.

Meanings of Colors Conveyed by the Rose

Talking about colors, the rose is a flower worthy of mention for the psychological and
emotional connotations each of its colors takes. It is the universal flora of love but one
should know first the meanings conveyed by each of the before sending one. Below is
SarianJ.'s article entitled "The Language of Roses :
Red is for 'I love you'; pink conveys a 'Thank you', white says 'you are heavenly'; coral
speaks of desire.

If you are harboring a secret affection for a special girl, it would be more appropriate
to send her white roses. White roses denote secrecy and other meanings such as
innocence, purity, reverence, and humility. Most people think that pink is the color of
love. It is not exactly so when it comes to roses. Deep pink roses convey gratitude and

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appreciation. It is most appropriate for those who would like to say "thank you." The
lighter pink, the other hand, expresses sympathy. They also stand for grace and
gentility.
It is the red roses that say "I love you." They also mean courage and fortitude. Yellow
roses represent joy and freedom. If you combine the red and yellow together, they
stand for jovial and happy feelings. Coral or orange roses, on the other hand, speak of
enthusiasm and desire.

If you want to convey the message of unity, better send red and white roses together.
If you want to tell your sweetheart that you are ready to settle down, do not send her
the usual three roses, Send her only two because this means, in the language of roses,
that you are now ready for marriage. A single rose, on the other hand, simply means
simplicity.
The rose has long been the symbol of affection among lovers the world over. This
explains why the rose is said to be the only flower; whose demand year, after year has
never diminished (Sarian, Zac B., Manila Bulletin, February 13, 1993).

Psychological Effects of Color Values

The effects of color values are similar to those in dark-and-light. Light values or tints
make the size of objects appear larger because these values reflect light. Therefore,
they are more advancing than dark hues. An individual seems to look larger in light
colored clothing. Light hues also seem to recede when seen from above, as in a ceiling.
Hence, rooms can be made to appear higher by painting the ceiling with light colors.
In perspective, distant objects appear to have light values because these values suggest
distance or background. Dark hues or values seem to decrease the size of objects
because these values absorb light. Large people should wear dark colored clothes to
make them appear smaller. A dark color also suggest foreground or nearness. In this
case, floors and rugs must be of dark hues. Dark-colored floors make the room appear
stable. Store goods on display must be so arranged that those with low or dark values
are below and those with light or high values are above, to give an impression of
stability.

White on black background is more conspicuous than black on white background

because white reflects light while black absorbs it. A color appears darker against a
white background but lighter against black or gray. Related values are quiet and restful
and tend to merge into each other. Contrasting hues emphasize each other:

Texture
Texture is an element that deals more directly with the sense of touch. It has to do with
the characteristic of surfaces which can be rough or smooth, fine or coarse, shiny or
dull, plain or irregular. Texture is best appreciated when an object is felt with the
hands.
Texture is found in all the visual arts. A painting, a building, or a piece of sculpture
have textures which can be felt and described in a variety of ways. Texture is due
primarily to differences in medium. In architecture, the varied feels of wood, concrete,
and metal determine the texture of the building. The sculptor can also produce

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differences in texture in his works. He can leave marks on the surfaces of a statue or he
can polish it to give it a shiny and smooth texture. Together with the other elements,
texture can contribute to the total effect of the finished work of art.
In painting, texture is exhibited through the representation of the skin, clothes, jewelry,
furniture, and others. Texture can add richness and vitality to paintings. Contemporary
painters have realized the important effects of texture on their work. During the
nineteenth and twentieth centuries, a high premium was placed on very smooth
surfaces and forms. A group of painters including Cezzane, Picasso, and others
emphasized texture by purposely making portions of the paintings rough.
The aesthetic value of texture lies first of all in the fact that it makes gradation of color
possible. Texture gives unevenness to a surface which causes the color of the surface to
be broken into gradations of light and shade.
Texture is very real to the sculptor and architect because wood, stone, brick, concrete,
and metal feel differently. To the painter, texture is an illusion. He must make an object
look the way it would feel when one touches it.

Perspective
•Perspective deals with the effect of distance upon the appearance of objects, by
means of which the eye judges spatial relationships. It enables us to perceive distance
and to see the position of objects in space. There are two kinds of perspective: linear
perspective and aerial perspective. To get depth or distance, an artist uses both linear
and aerial perspective.
Linear perspective is the representation of an appearance of distance by means of
converging lines. The tracks of a railroad appear to the viewer as seeming to rise and
meet in the distance. Linear perspective involves the direction of lines and the size of
objects. Painters usually show the effect of space and distance by using converging
lines and diminishing size. Parallel lines below eye level seem to rise to a vanishing
point in the horizon, while those above eye level seemed to descend to the vanishing
point. Near objects are seen in full intensity of color. Objects appear smaller as they
recede into the distance. People or objects at the background of a painting seem to be
shorter than those in front.

Aerial perspective is the representation of relative distances of objects by gradations

of tone and color. Objects become fainter in the distance due to the effect to the
atmosphere. Objects appear to be lighter in color, objects become grayer, details are
dissolved, contrast is diminished, and the outline more vague as they recede into the
distance or into the atmosphere.
Perspective is important in painting because volume is to be presented on a two-
dimensional surface.

Space
In painting, as in architecture, space is of great importance. The exterior of a building
is seen as it appears in space, while the interior is seen by one who is inside an
enclosure. Painting does not deal with space directly. It represents space only on a
two-dimensional surface. Sculpture involves very little space relationship or
perception of space.

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Form
Form applies to the overall design of a work of art. It describes the structure or shape
of an object. Form directs the movements of the eyes. Since form consists of size and
volume, it signifies visual weight. Every kind of form has its own aesthetic effect. All
the visual arts are concerned with form. Sculpture and architecture deal with three-
dimensional forms. Sculpture, however, deals with exterior form alone because one
cannot get inside a statue. The sculptor is restricted to masses in relation to other
masses as a means of interpretation. Michelangelo's "David" idealizes and
conventionalizes forms and features, like the best of the Golden Age Greek sculpture.
Good architecture allows outward forms to be governed by what goes on inside them.
A house is a place for a family to live in, therefore the inside should be carefully
designed to meet the needs of the family. If the exterior form of the house expresses
clearly the interior form, the house becomes a good piece of art. A church must express
on the outside that the inside is a place of worship for it to become a good work of art.
Architecture therefore lives by the -guiding principle "form follows function." This
means that the inner content of purpose or function governs the outer appearance.
In addition to function, another factor in determining form is the way in which a
building is construct. Skyscrapers would not have been built had it not been made
necessary by rising land values resulting from urban congestion. Great architecture,
therefore, is produced only when the elements of function and construction are
integrated into creative design.

Triangles, circles, and rectangles are favorite designs used by painters. Tables,
buildings, picture frames, and furniture are usually composed of cubes or rectangular
solids. Oranges, electric bulbs, lakes, and domes are shaped as spheres. Trees,
mountains, and flowers are cones. The trunk of trees, human arms or legs, and pencils
are cylinders. Architecture is also concerned with shapes of planes, openings, and
silhouettes of building forms.

a. circle: a series of points arranged equally and balanced about a point

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b. triangle: a plane figure that is bounded by three sides and having three (3) angles
Regular Forms

c. square a plane figure that has four equal sides and four right angles

In painting or other two-dimensional arts, the form, usually an area on a flat

surface enclosed by a line, stands out because of the difference in color, value, or
texture. It is sometimes difficult to recognize circles, cubes, or triangles, or other
geometric forms in paintings, because they are seen as parts of the objects or as the
objects themselves. To develop our ability to recognize these shapes or forms is
to see objects around having a particular color, texture, or tone.

Forms are classified into: regular forms, irregular forms, centralized forms, forms,

radial forms, clustered forms, and grid forms.

Regular forms are those whose parts are related to one another in a consistent, orderly

manner. They are generally stable and symmetrical in about one or more axes. Prime

examples of regular forms are platonic solids.

Forms can still retain their regularity even when transformed dimensionally or by the

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addition or subtraction of elements.

Irregular forms are those whose parts are dissimilar and unrelated to one another.
These are regular forms from which irregular elements have been subtracted or an
irregular composition of regular forms. They are generally asymmetrical and dynamic.

Centralized forms consist of a number of secondary forms clustered to produce a

dominant, central, and parent form. These forms share the self-centering properties of
the point and cirèle. These forms are ideal as freestanding structures, isolated within
their context, dominating a point in space, or occupying the center of a defined field.

Centralized Forms
Linear forms are arranged sequentially in a row or a series of forms along a line. A
linear form can result from a proportional change in a form's dimensions, or th e
arrangement of a series of form along a line.

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Linear Forms
Radial forms are compositions of linear form that extend outward from central form in
a radial manner.

Grid forms are modular forms whose relationships are regulated by 3-dimensional
grids. A grid is two or more intersecting sets of regularly-spaced parallel lines. The
square grid generates a spatial network of reference points and lines and within this
modular framework any number of form and spaces can be visually organized.

Grid Forms
Volume
The term volume refers to the amount of space occupied in three dimensions. It
therefore refers to solidity or thickness. We perceive volume in two ways: by contour
lines, outlines or shapes of objects, and by surface lights and shadows. Volume is the
primary concern of architects because a building always encloses space. The building
must have everything neatly in place no matter at what angle the lights fall on it or
from what view we look at it. The outlines or shadows change every time the viewer
shifts his position. The viewer, therefore, may obtain not one but many different
impressions from a single work.
The sculptor is also concerned with volume because his figures actually occupy space
and can be observed from any direction. The direction of sunlight will determine the
areas of light and shadow. The outlines and shadows change every time the viewer

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changes his viewing position.

In painting, volume is an illusion because the surface of the canvas is flat. The painter
can only suggest volume. To make his figures seem three-dimensional, the painter
decides arbitrarily from what direction he wants the light to fall. He then paints the
lightest portions bright and those in shadow, dark.

The Elements of Performing Arts

The discussion of the elements of performing arts is limited to music, dance, and
literature. These elements are briefly presented in this section.

Music
Like all other forms of art, music, as an auditory art, uses a particular language. To
understand a musician's technique of manipulating sounds in order to create
meanings, one has to know the elements of music. These are: rhythm, melody,
harmony, tempo, dynamics, and timbre. Elements of Music
Rhythm

Rhythm is the basic element of music, the beginning of music. It is the variation Of
length and accentuation of a series of sounds. There is rhythm in nature: in the
swaying of trees, in the drops of rain and the movement of water waves. In music, its
most fundamental component is beat, i.e., the recurrent pulse found in most music. In
music, the beat is that to which we clap our hands or tap our feet. Meter is the regular
occurrence of accented and unaccented beats. According to Charles Hoffer, the beat of
music is "a pulse or throb that is sensed rather than sounded and it recurs regularly...
and is not necessarily present in all music.t For instance, Oriental music does not have
a beat, nor do we find it in the Gregorian music. However, one must remember that the
beat and the rhythm are not one and the same. The beat is the simple pulse found in
almost all music familiar to us while the rhythm is a larger concept, including the beat
and everything that happens to sound in relation to time.
One way of measuring rhythm is by means of meter. Meter is the arrangement of
rhythm in a fixed, regular pattern with a uniform number of beats in uniform
measures. It is also the way beats are grouped and measured so that some beats
receive accent while others do not.
Melody
Melody is the second important element of music. If rhythm is associated with physical
motion, melody is associated with mental motion. It is sometimes called the memory
element because it is always remembered by a listener. It refers to pitches or tone

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succession of tones arranged in such a way as to give a musical sense. Tones may go up
or down or remain on the same level. Melody is an organized group of pitches strung
out sequentially to form a satisfying musical entity. Melody occurs in various guises
and circumstances and is heard in terms of pitch.
Pitch
Pitch indicates the highness or lowness of sound and is determined solely by the
frequency of molecular vibrations. Thus, the slower the vibration, the lower the pitch
and the faster the vibration, the higher the pitch. By means of pitch, we can distinguish
one instrument from another or one voice from the other. An examination of the
pattern of pitches reveals the fact that there is a relation between one pitch and
another.
This relation of one pitch to another is called an interval. When certain patterns of
intervals are repeated at a different pitch, we have a sequence. The sequence
embodies melodic and rhythmic repetition. A good melody must invoke to the listener
a sense of satisfaction, completeness, and feeling of integrity. A melodic line must also
have a sense of continuity—long in flowing, high and low point of interest, and a
climactic moment. This is called the "la grande ligne; the great long line.
Harmony
Harmony refers to the manner of sound combination in which we add subordinate
sounds to enhance the quality of the main sounds. Harmony is the sounding of a series
or group of tones at the same time or simultaneously, instead of a single tone sounded
separately like this:
They are played together like
this:
s sounded one after another in a
logical, meaningful series. It is
also defined as the

The combination of two or more tones sounded at the same time is called a chord. If
the combination or chord seems to produce an impression of agreeableness or
resolution to the listener, it is called concord. If it does not the combination is called
discord or dissonance.
In other words, harmony is perceived when there is relationship of the tones within
the chord, of one chord to another, and the progression of chords. Most homophonic
music, being chordal in nature, are examples of harmony while polyphonic music,
being linear in nature as it uses the counterpoint device, may produce harmony

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through a simultaneous sounding of pitches. In general, harmony refers only to the

simultaneous sounding of pitches regardless of whether the chords sound pleasing or
not.
Tempo
Tempo refers to the speed of a certain musical piece. It is measured by a device by the
musical notes given half or full values. Tempo may be slow, quick, or moderate. An
unsuitable tempo can ruin a song. Here is a list of terms commonly used to indicate
tempo:
largo — very slow adagio — slow and stately andante — at a walking pace andantino
— alternatively faster or slower than andante
allegreto — moderately fast allegro — fast presto — very fast accelerando — gradually
becoming faster ritardando —gradually becoming slower
Dynamics
Dynamics refers to the amount, strength, or volume of the sound. It is the degree
variations of sonority and force with which the music is played from soft to loud.
Dynamics is perceived when composers and performers make skillful use of shadings
or that the music reveals an almost constant interplay between loud and soft music.
Timbre
Timbre refers to tone quality. This element helps differentiate one type from another
or one instrument from another.
In general, when the elements are organized and combined in such a way listener finds
the experience rewarding and meaningful, then music is created.
Dance
Dancing is an art and a recreation. As an art, it tells a story, a set of expresses an
emotion. Dances vary in form. Some forms of dances are religious magical dance,
commemorative dance, ceremonial dance, recreative dance, testimonial dance.

Types of Dances
Folk dance/Ethnic dances are social dances that portray the beliefs, interests, habits,
customs, and practices of the native.

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Ballroom dances are dances of public entertainment, usually performed in pairs in

ballrooms, nightclubs, auditoriums, or in public places. Examples are waltz, swing,
foxtrot, cha-cha, boogie, tango, body language, and rhumba.
Theatrical dances are performed for the entertainment of the audience in a theater.
Examples are ballet, modern dance, musical comedy dance, and tap dancing.

Elements of Dance
There is always movement in a dance. But not all
movements signify a dance. To be a dance, the movement
must contain the following basic elements:
1. Theme is the most basic element of a dance. It conveys
the message of a dance. Thus, a dance that does not convey
a message, even if there is movement, is not a dance.
2. Design is the pattern of movement in time and space.
Pattern in time refers to the unaccented beats of
movements into measures. Pattern in space refers to the
path traced by the dancer's feet on the floor (ground) and
the levels on which they move.
3. Movement refers to the bodily actions of the dancer that include his steps,
gestures and a mouse is a miracle enough to stagger sextillions of infidels, of the
arms, hands, and body, and facial expression.
4. Technique is the skill of movement executed by the dancer.
5. Music is the auditory background to which a dancer moves. A dance is always
accompanied by any form of music.
6. Costume and body paraphernalia are properties worn by the dancer that

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help reflect the message, customs, beliefs, and setting of the dance.
7. Choreography refers to the figures and steps in dancing that enable the
dancers to perform in an organized manner.
8. Scenery refers to the background or setting where the dance is performed to
make it more realistic and enriching.
Literature
It is one of the arts that expresses human feelings. It shows ideas or emotions through
symbolic presentation in the form of short story, poetry, drama or play, and essay
among others.

Classification of Literature
Literature can be categorized into escape and interpretative literature. Escape
literature is for entertainment purposes, that is, to help us while away time in an
agreeable manner. Escape literature enables us to understand our troubles. The object
of escape literature is pleasure while the object of interpretative literature is pleasure
plus understanding.

Uses of literature
1. To impart moral values. Here, the purpose of literature is to present moral values for
the reader to understand and appreciate; the moral values may be directly or
indirectly stated.

The literary work given below may either be for entertainment or may be intended as
a moral lesson. It seeks to make the reader understand and celebrate individuality and
collectivity.

I believe a leaf of grass is no less than the journey of the star,

And the pirsmire is equally perfect, and grain of sand, and the egg of the wren,
And the tree toad is a chef-d’oeuvre for the highest,
And the running blackberry would adorn the parlors of heaven,
And the narrowest hinge in my mind puts to scorn all machinery,
And the cow crunching with depress’d head surpasses any statue,
And a mouse is a miracle enough to stagger sextillions of infidels,
And I could come every afternoon of my life to look at the farmer’s girl
Boiling her iron teakettle and baking shortcake.

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-an exerpt from Walt Whitman’s Song of Myself

2. As Propaganda. This kind of literature is found not only in history books and
advertising and marketing books but also in some books describing one’s personal
success and achievements in life.

3. To provide therapeutic help. Literature can be regarded as a sophisticated and

modern elaboration of the idea of catharsis- an emotional relief experienced by the
reader that helps him recover from a previous pent-up emotion.
The following is an example of a therapeutic poem.
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine

And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced; but they

Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie

In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

General Elements of Literature

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According to Sanchez et al. (2002), not all written works can be considered literature.
To understand a good literary work, we should know first the important elements of
literature. It is undeniable that the medium of literature is language, and language is
composed of words that are combined into sentences to express ideas, emotions, or
desires. Writers, therefore, should be careful in their choice of words and expressions
of their emotions and ideas. By carefully organizing the words in a literary work, the
writer aims to create a high sense of value for his writings.
An aspiring writer should bear these objectives in mind:
1. To strive in raising the level of the reader's humanity and 2. To make his readers
think and achieve an educated perspective.
The important elements of literature are:
1. Emotional appeal

2. Intellectual appeal
3. Humanistic value
Emotional appeal is attained when the reader is emotionally moved or touched by any
literary work as in:
The Freedom of the Moon
I've tried the new moon tilted in the air
Above a hazy tree-and-farmhouse cluster
As you might try a jewel in your hair.
I've tried it fine with little breadth of luster,
Alone, or in one ornament combining
With one first-water start almost shining.
I put it shining anywhere I please.
By walking slowly on some evening later,
I've pulled it from a crate of crooked trees,
And brought it over glossy water, greater,
And dropped it in, and seen the image wallow,
The color run, all sorts of wonder follow.
—Robert Frost
Dr. Jose Rizal's Noli Me Tangere and El Filibusterismo are good illustrations of
literature of intellectual appeal. Both were instrumental in exposing the ills society of
its period. It reminds the reader of what he can do to better his condition.
Specifically in one of Rizal's philosophical ideas, he said:
"Don't you realize that it is a useless life which is not consecrated to a great idea? It is a
stone wasted in the fields without becoming part of any edifice."

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(Simon to Basilio)
Humanistic value can be realized when the literary work affirms the dignity and worth
of all people as in the poem below:
Barter
Life has loveliness to sell,
All beautiful and splendid things,
Blue waves whitened on a cliff, Soaring fire that sways and sings,
And children's faces looking up Holding wonder like a cup.
Life has loveliness to sell,
Music like the curve of gold,
Scent of pine trees in the rain, Eyes that love you, arms that hold, And for your spirit's
still delight,
Holy thoughts that star the night.
Spend all you have for loveliness,
Buy it and never count the cost;
For one white singing hour ofpeace
Count many a year of strife well lost, And for a breath of ecstacy
Give all you have been, or could be.
— Sara Teasdale

Another example of literature which has humanistic value can be found in the Gospel
of St. John:

For God so love the world that He gave His only begotten Son, so that whoever believes
in Him should not perish, but have everlasting life.

Specific Elements of Literature

Elements of the Short Story

As previously stated, literature can be classified as escape or interpretative. A story

becomes interpretative if it illuminates some aspects of human life or behavior. An
interpretative story presents us with an insight—large or small—into the nature and
condition of our existence. It gives us a keener awareness of what it is to be human in a
universe that is sometimes friendly, sometimes hostile. It helps us understand our
neighbors and ourselves. A short story is a work of fiction that can be read in one
sitting (McDougal, 2006). Generally, a short story develops one major conflict. A short
story can be appreciated through an increased understanding of what a story is as well
as the tools or elements of the story.
1. Plot, regarded as the skeleton or blueprint of the story, is the sequential
arrangement of related events and actions of which the story is composed. The series

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of such
events start from exposition (beginning of the story), moves on to complication
(action grows stronger) to the turning point of the story (climax), and finally to the
resolution which leads to denouement and ending (Bascara, 2000). "The Life of Cardo"
by Amador T. Daguio is an example of a short story.

2. Characters refer to people or animals that take part in the events in a story.
Characterization is used by a writer to present characters (Boyd et al., 1997). Direct
characterization is used when the short story writer tells you how a character looks,
behaves, and thinks. Indirect characterization is used when the short story writer lets
you draw your own conclusions about a character from the way the character speaks
or acts or how other persons react to the character.

3. Point of View refers to the manner in which the story is told. It indicates from
whose perspective the events in the story is relayed to its reader. Through point of
view, the author or narrator allows us to see what he wants us to see and obstruct
from our view what he wants hidden. The story can be told in the 1st person point of
view (either as observer or participant); 2nd person (with the author speaking to the
reader); or the 3rd person, in omniscient or panoramic point of view or in a limited
omniscient point of view.
4. Setting could be a locale or place where the event or action took place; or a feeling
that invites meaning. Its function is to lend an idea, as a symbol, as an atmosphere, and
as a motive force of the story.

5. Theme refers to the message communicated by the story. It is the unifying

generalization about life stated or implied by the story. Subordinate themes are called
motifs.
In many stories, the theme may be the equivalent to the revelation of human character.
In stating the theme in a sentence, we must pick the central insight, one that explains
the greatest number of elements in the story and relates them to one another. The
theme gives a story its unity. The theme in literature and combined arts (performing
arts) is equivalent to the subject in painting, sculpture, and music. Storywriters
perform a service to us: they interpret life for us, they either give us new insights or
refresh and strengthen old ones.
6. Irony is a contrast among what seems and what is and could be. According to
Bascara (2004), irony can be
 dramatic — a contrast between what the fictional character says, and what
the audience or reader knows in the same words situational — a contrast
between expectation and result; intention and outcome; illusion
(appearance) and reality
• verbal — a contrast between what is said and what is meant; what is said is the
opposite of what is intended; often a vehicle of sarcasm, sadness, or affection

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7. Symbolism refers to something that is more than what it is in reality. Symbols are
objects, persons, situations, actions, and all recognizable things or items that suggest
other meanings. For example, a cross symbolizes Christianity; a sword symbolizes
war; a rose or a bouquet of flowers, love etc. Thus, a symbol must carry a double
meaning, that is, it denotes something real (tangible) and connotes something
intangible.

8. Style implies control of material through the precise use of literary and figurative
languages. It may also refer to the total carrying out of the short story, taking all other
elements (character, plot, theme, and setting) into consideration.

Elements of Poetry
Poetry is a genre in literature that imaginatively and figuratively expresses man's
thoughts and feelings, usually in verse form. Its theme is generally personal—love,
death, frustration, hatred, faith in God and man, human sufferings, culture and
traditions, etc.

Its elements are:

1. Language. Language may be denotative (actual meaning); connotative (implied
meaning); poetic (language that considers diction, vocabulary, and level—simple or
conventional); and figurative (most often using simile and metaphor).

The most primitive peoples have used language, and the most civilized have
cultivated it. Among the types of literature, poetry writing is the most challenging for
the following reasons: first, the choice of proper words or grammar; second, the
denotative and symbolical meaning of the chosen grammar; and third, the limitation
imposed by the structure and rhythm of sounds.

The word "home" for instance, by denotation means a place where one lives.
Connotation is the related or allied meanings of a word. The same word "home'
suggests warmth, comfort, security, love, and other meanings that are associated with
its denotative meaning.

Kite Days
A kite, a sky, and a good firm breeze,
And acres of ground away from trees,
And one hundred yards of clean, strong string— O boy, O boy! I call that Spring!

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—Mark Sawyer
The denotation ofthe word "spring" is the "season between summer and winter. Its
connotation, on the other hand, might be "joy" or "a festive mood."

2. Tone refers to the atmosphere, feeling, attitude, stance, or the way the poet
looks at his subject or the world. Such feeling or atmosphere is reflected on his poetry
maybe serious, ironic, bitter, joyful, resigned, etc.

3. Imagery is the representation of sense experience or the total sensory

suggestion of poetry. An image is the mental duplication of a sense impression. Images
may be visual, auditory, tactile, gustatory, or bodily. The poet is an image-maker who
reinforces his thoughts with concrete words. The most common imagery is visual, as
we are made to see what the author is talking about.

The make-up crew should be allowed plenty of time to do each actor is dressed.
Everything in the make-up area should have and be covered when not in use. Make-up
pencils be clean, and when grease paint and other materials are running be replaced
before they are needed.

4. Dialogue is the conversation between and among the characters

5. Setting, Scenery, and Lighting. Scenery and or large props should appear real.
The scenery may only to suggest the scene. The imagination of picture.

Proper lighting can add a great deal to the realism brightness, color, and direction
in lighting play: would it be daytime or night time?

Is the scene gay or mysterious? White, yellow, amber, colors that will brighten the
stage. Blue and green dull the cold effect. Red and purple are mysterious. All these
things have in setting up the stage.

Stage lighting is always electrical, and only the persons should touch the electrical

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equipment. An open flame or a lantern is never used on the stage.

Importance of Reading Literary Works

Literary works of art like poetry, short stories, reading because they do not only
entertain or give pleasure values that can improve our life. Reading literary works
information on man's progress and achievement.

Engaging Activities:

A. Answer the following questions. (50 pts)

1. What are the elements of visual art?

2. How is form used in establishing balance?

3. What are the different ways of achieving balance in visual arts?

4. What is the importance of variety in art?

5. How does music differ from the other arts?

6. What are the primary colors in pigment?

7. What colors would you mix if you want to produce each of the following:

a. orange d. gray

b. brown e. blue-green

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c. pink f. violet

8. What geometrical form is usually used for outlining picture frames? for tables?
for charts?

9. What is the difference between tint and shade?

10. Why is line an important element of visual arts?

B. True or False (50 pts)

Write TRUE if the statement is correct. Write FALSE if it is incorrect.

I. Drama should be acted out only by characters on stage.

2. Value is the transition between lightness and darkness in an object.

3. In sculpture and painting, space is not present.

4. Variations in texture of objects, building, and structures help avoid a

monotonous effect.

5. Red stands for passion and energy.

6. Color has 4 attributes: hue, value, perspective, and intensity.

7. The value of color consists of its tints and hues.

8. Perspective involves a feeling of distance, depth, or movement.

9. Lines may represent the visible or hidden edges of objects.

10.Lines always have direction.

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Performance Task

PT 1
Reflection Writing: Write a reflection on “Art is a Universal Language” posted by Alina Murdock in
YouTube.
 Reflection must be three (3) paragraphs or more.
 Minimum of five (5) sentences per paragraph.
 It must be written in English.
 Minimum of 200 words.

Understanding Directed Assess

Scoring Rubric:

90-95 - Excellent
85-89 - Very Satisfactory
80-84 - Satisfactory
75-79 - Fair / Slightly Satisfactory
70-74 - Poor

Learning Resources

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Flores, Patrick (2002). The Role of the Art Critic. In Paleta 5: A Handbook for Visual Artists, ed/ Eloisa May
Hernandez, pp. 27-31/ Manila: NCCA.
Fernando, - Amilbangsa, Ligaya (2005) Ukkil L Visual Arts of the Sulu Archipelago. Quezon City: Ateneo de Manila
University Press.
Ariola, Mariano (2014). Introduction to Art Appreciation: Second Edition. A textbook in Humanities

Prepared by:

Dr. Dante R. Wagan

Assistant Professor I, CAS
Laguna State Polytechnic University
Los Baños Campus
Barangay Malinta
Email: dante.wagan@lspu.edu.ph
Messenger: Dante Wagan ( dante.wagan.1)
Mobile: 0908 555 0462

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