Teaching Visual Arts in The Elementary Grades 1

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Educational Technology I (Ateneo de Davao University)
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UNIT I
Art Education in the Elementary Grades
A. Art Education in the Philippines
Learning Outcomes
1. Familiarize yourself with how and why visual art has been taught in the Philippines in the
past decades.
2. Gain cursory knowledge of the arguments in favor of having art subjects in the curriculum.
3. Become familiar with the issues facing Art Education in the country today.
"Those who cannot remember the past

are condemned to repeat it."
- George Santayana
THINK
"Art Education"-as the term is used in the Philippines-refers to the teaching and learning
of the visual arts, i.e., drawing, painting, sculpture, etc. This is to distinguish it from education
in other artistic fields, such as music, dance, and theater.
As future teachers in the field, you are expected to have a competent grasp of the
various skills required to produce works of visual art in a variety of contexts and with a variety
of materials. This text is meant to guide the learning of how to teach to others-particularly
children-what you already know.
A Short History of Art Education in the Philippines
According to Santiago (2013), Art Education in the country as we know it today is the
by-product of the American philosophy of education which the Americans brought with them as
they supplanted the Spanish as colonizers of the country at the start of the 20th century. As the
Filipinos' latent artistic talents came to the fore, the Americans saw it fit that they play a part in

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the development of Philippine education as a whole, and so to this day, art is still taught as part
of Basic Education in the country.
Santiago (2013) defines Art Education in the country as being comprised of three
distinct periods:
1. The Experimental Period (1915-1935) - During this time, Art Education was primarily
drawing (it was literally called "Drawing" in the curriculum), where the students learned via
imitation, and the instructional methods were "du and authoritarian." Early attempts were
made to correlate drawing with other subjects, such as English, industrial works, and
language.
2. The New Movement (1935-1950) - Vicente Dizon is credited by Santiago with starting the
New Movement in Art Education, characterized by a growing understanding of the desired
philosophy for teaching art not only in the elementary grades, but also in high school and
college, and an increasing practicality in the teaching of art.
3. The Newer Movement (1950-present) – It was in 1950 that "Drawing" - became "Art
Education" and when Pablo Victoria, an art professor at the then Philippine Normal College,
pioneered integrating art with other subjects in the curriculum. His 1959 book. Art in the
Elementary School, clarifies and elaborates on the role of both teachers and learners in art
education.
Today, the National Commission for Culture and the Arts (NCCA) is the primary policy-
making body for Philippine culture and the arts. Its programs and policies are what guide
government efforts in conserving historical artworks, giving public exposure to the works of
Filipino artists, and encouraging a new generation to explore and invest in Filipino arts.
Today, art education has been integrated into the Basic Education Curriculum under the
Music, Arts, Physical Education, and Health (MAPEH) subject, which receives 4 hours of
instruction weekly from Grades 1 to 10 (Department of Education 2012). In 2016, the
Department of Education introduced a specialized Arts Track for senior high students under the
K to 12 program with approximately 4,400 students nationwide as of 2017 (Geronimo 2016;
Samodio 2017).
The field is still beset by a number of issues to be discussed later that make a career in
the field challenging, but at the same time afford a great deal of satisfaction and fulfillment for
those educators who are able to find solutions to them, no matter how large or small the scale
of the solution might be.
Benefits of Art Education
As future teachers in the field, it is important for you to be fully convinced in your minds
of the benefits of Art Education and its presence in the curriculum. Often viewed as expendable

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by curriculum designers due to its nature of self- expression, art teachers must be fully aware
that the benefits of art extend well beyond simply "expressing oneself."
Beyond the obvious benefits of relaxing and enjoyable self-expression. education in the
arts has a number of nonartistic benefits, such as the development of creativity-useful in any
subject area and being open and receptive to new ideas also useful in any subject area. The
Seneca Academy (2017) lists ten benefits to having Art as part of school curriculum:
1. Working in the arts helps learners develop creative problem-solving skills.

2. Teaching through the arts can present difficult concepts visually, making them more easy to
understand.
3. Art instruction helps children with the development of motor skills, language skills, social
skills, decision-making, risk-taking, and inventiveness.
4. Visual arts teach learners about color, layout, perspective, and balance: all techniques that
are necessary in presentations (visual, digital) of academic work.
5. Integrating art with other disciplines reaches students who might not otherwise be engaged
in classwork.
6. Arts experiences boost critical thinking, teaching students to take the time to be more
careful and thorough in how they observe the world.
7. The arts provide challenges for learners at all levels.
8. Art education connects students with their own culture as well as with the wider world.
9. Young people who participate regularly in the arts (three hours a day on three days each
week through one full year) are four times more likely to be recognized for academic
achievement, to participate in a Math and Science fair, or to win an award for writing an
essay or poem than children who do not participate (Heath, Soep, and Roach 1998).
10. Greater arts education leads to fewer disciplinary infractions and higher attendance,
graduation rates, and test scores (Missouri Alliance for Art Education 2010).
According to a 1993 study made by the Arts Education Partnership Working Group, the
many benefits of a strong arts program in schools include "intensified student motivation to
learn, better school attendance, increased graduation rates improved multicultural
understanding, and the development of higher-order thinking skills, creativity, and problem-
solving abilities."
These findings are further echoed by Burton, Horowitz, and Abeles (1999) and by
Bamford and Wimmer (2012), where they argue that learning "in the arts" (i.e., learning how to
draw, paint, sculpt, etc.) can increase skills, such as exploring imagining, observing, and
reflecting. They also argue that learning "through the arts" (Le, using artistic activities in
learning nonartistic concepts and skills) makes a range of other subject more attractive.
Examples given are greater use of visualization, enhanced motivation, increased attentiveness,
and improved reflection and communication.
These findings and more prompt us to believe that the value of art in the curriculum
does not lie solely in its skills and knowledge that are directly transferable and applicable in

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other subjects, but in all skills, from all subjects that are applied broadly everywhere. Thus, no
subject has priority over any other subject, and so "to diminish one is to diminish all" (Burton,
Horowitz, and Abeles 1999).
Issues in Philippine Art Education
Art educators in the country face an uphill battle as they navigate the educational
system and its need to prioritize its resources-often not in favor of the arts. However, there are
other issues facing art education in the Philippines, some of which are much closer to the
classroom. Several are discussed here.
Problems in Artistic Values
The issues discussed hereunder deal with the attitudes and mindsets of the various
participants in art education regarding the teaching of art in schools. They are problems of
perspective, which in turn affect policy, which then affect practice. Four broad categories are
identified here: Teacher Issues, Art as a Subject, Student Discipline, and Art as a Luxury:
1. Teacher Issues It should come as no surprise that teaching as a whole is not the
career of choice for a majority of Filipinos, with many of its
practitioners a victim of the "mag-teacher ka na lang!" mentality in
the culture. Alongside this, art educators in the country face a
number of self-esteem issues, expressed through statements like
"I'm not talented enough to be a real artist" or "There's no money
in the arts, so teach in order to make a living."
Perhaps the biggest, most immediate issue when it comes to arti
educators is the lack of good training. Teachers by training are
specialists, but upon being deployed in the field-often due to
economic reasons- they are often called upon to teach subjects
outside their specialization, leading to half-baked ( "hilaw")
teaching. Anecdotal evidence abounds teachers who had to teach
art despite of having zero training and even zero exposure to art
activities since childhood.
2. Art as a Subject Perhaps because of its initial, utilitarian roots as "drawing," art in
the curriculum is still often viewed as a "subject" rather than an
avenue for self-expression. This results in a teaching of art that is
overly academic, focusing on facts about art rather than on the
practice and creation of art.
When coupled with a lack of adequate teacher training, this
encourages a sterile, static view of art that is only considered
"legitimate" if it is comparable to the work of the "masters, ie,
museum-standard- something that simply cannot be achieved by
children in the early grades.
3. Student Discipline Stemming from a utilitarian view of art, many students struggle
with motivation issues due to an unnecessarily vicious cycle of

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criticism from family, peers, and ill-equipped teachers, thereby

limiting their willingness to invest the hours needed to master the
skills needed to create art.
Another issue noted by many teachers is the lack of student
respect toward art materials. Wastefulness, neglecting to store
materials properly, and the lack of a general sense of order and
cleanliness both while and after working are all sources of great
frustration for art educators nationwide.
4. Art as a Luxury The popular public view on art in the country is that it is a luxury -
“Pangmayaman lang 'yan” - nice to have, but nonessential to the
average working Filipino. Art is considered the privilege of the elite-
those who do not have to actually work for a living and can
therefore devote the time, energy, and money needed to
participate in artistic endeavors.
Consequently, art is among the lowest subjects in terms of priority
when it comes to issues like budget, time, resource allocation, etc.
Materials, Resources, and Workspaces
The following are problems related to the physical requirements for teaching art and
their availability. While a teacher in Mathematics might need little more than chalk to teach his
or her subject, an art teacher requires quite a number of materials, many of which can be
expensive and outside of school budget.
1. Limited Materials Due to lack of adequate support, art materials are scarce in the
average classroom, with art educators relying on the students
themselves to provide the necessary art supplies the class requires.
Stemming from the elitist view of art, there is also a lack of
recognition of the alternative art materials that are available in the
immediate environment. This serves to only propagate the
perception that unless it is created with the so-called "mainstream
art materials (e.g., acrylic/oil paints, charcoals, pastels, etc.), then
it is not really art.
2. Workspaces Related to the previous problem, many schools have no dedicated
space for art classes, let alone extracurricular artistic pursuits.
Students must make do with regular classrooms ill-suited for the
purpose. As a result, some forms of artistic expression simply
cannot be explored, particularly those that require more than one
class meeting (e.g., painting on canvas, sculpture carving, etc.), as
they raise issues concerning cleanup, storage, maintaining the
integrity of unfinished student work, and so on.
3. Management Issues Related to the lack of student respect for art materials and spaces,
there is also a severe lack of awareness as to how to manage and
organize an art class in order to maximize learning and ensure

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students' safety. This is especially important during art activities

that involve sharp objects, like carving and sculpture.
Usually, these skills are chalked up to common sense and, thus,
taken for granted. However, there is a need for such management
skills to be intentionally taught, as many students will be
experiencing handling and storing potentially dangerous tools for
the very first time in their lives.
There are obviously many other issues in the teaching of art in the Philippines. Those
mentioned above are simply the most likely ones that art educators like yourselves will face in
the field. Knowing and preparing for them now are crucial to managing and mitigating their
negative effects if and when you encounter them in your classroom.
EXPERIENCE
If possible, interview an older art teacher about the challenges he or she faced in
teaching art. Ask him or her why he or she thought teaching art as a viable career choice. What
made him or her want to teach? What things does he or she wish he or she could have done
better?
ASSESS
Discuss the following questions in groups and present a summary of your discussion in
class:
1. Reflect on your Art subject back in your elementary years. What was good about it? What
could have been better? Which issues among those discussed above did you witness?
2. Did your being exposed to Art in your elementary and maybe high school education
influence your desire to pursue a career in Art Education today? If yes, what was it about
your early experiences with art that influenced you? If no, what experiences outside of the
art classroom inspired you to pursue Art Education now?
CHALLENGE

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Imagine you have the freedom to teach Art in whatever way you wish to a fourth grade
class, but you have only three months to teach, and the only art materials you have access to
are those commonly found in an educational supply store. What would you teach and in what
sequence? What strategies and activities would you use to teach?
HARNESS
Imagine having a student with great artistic talent but does not have the support of his
or her family since they believe that his or her artistic pursuits are a waste of time and money.
How would you convince them otherwise?

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B. The Artist Mindset in the Early Grades
Learning Outcomes
1. Familiarize yourself with the mindset, attitude, and values that must be developed in young
learners to help foster a healthy attitude toward the practice of art.
2. Reflect on the presence or absence of these artistic values in your own life as an art
educator, and consider how to develop them to the point that you can encourage their
development in others.
"Nemo dat quod non habet"

(You cannot give what you do not have)
- Latin Maxim
Any practicing artist can tell you that art first begins in the mind, with artistic skills
serving only to create what is already seen in the imagination. The skill of an artist can, thus,
be seen in how faithfully it can translate what he or she imagines into a work of art. If there
was nothing held in the imagination-no finished picture, painting, drawing, or sculpture-even
just fleetingly, can the end product be truly considered "art"?
It is, thus, necessary to identify the habits of the mind-the mindset-that art educators
should both possess and seek to develop in their students in the early grades through the
teaching of art: the values, philosophical positions, and the focus needed for art to thrive in
Philippine education.
THINK
A. Inspired by Daily Experiences and Encounters
Part of the "artistic sense" is a sensitivity to beauty-not just in big and grand spectacles and
experiences, but particularly in the everyday things we see and experience as we go about
our lives. This is difficult to explain and likewise teach for a number of reasons:
1. Exposure - The ability to see beauty every day does not appear out of thin air; rather, it
often takes someone else explaining to us how something simple and commonplace can
be beautiful, and in terms that are appropriate for our developmental stages.

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2. Context - It is almost a cliché to say that beauty is subjective; that is, what is beautiful
depends on the individual. It can also be said that beauty depends on the context-we
know it when we see or hear it, but when something is framed within the right context,
it suddenly appears beautiful. Conversely, when something is placed in the wrong
context, we do not perceive it as beautiful. The trick, then, is finding the right context
for what we wish the learners to appreciate.
This is where careful and deliberate manipulation of the learning environment

becomes important; a quiet studio lends itself to appreciating still life arrangements, for
example, as learners concentrate on reproducing simple outlines with whatever the
medium of the day might be, or studying the way different angles and intensities of light
cast shadows.
3. Age Children are naturally drawn to the novel, the unusual, and the exciting. Bigger,
bolder, faster, brighter, louder are a guaranteed formula to gain the interest of children.
Action and movement excite them. whereas the comparatively slow, methodical pace of
everyday life does not. Educators will need to tailor the experiences they have planned
for young learners so that they both communicate the lesson while holding the learners'
interest.
Man has been inspired by nature since the dawn of the time of man, and the ability to
appreciate beauty in nature appears to be innate. Mountains, lakes, animals, trees, flowers,
insects, and the like are all fair game for artists of all ages. It should not be difficult to get
young learners to desire to commit scenes from nature-real or imaginary-to paper, as it is an
almost natural thing to do, and relatively easy as well.
Events have also been a great source of inspiration for artists. If we consider ancient
art-the kind found in the prehistoric cave systems of Europe, the pyramids of Egypt, bas-
relief sculptures from Mesopotamia, and so on, we find that most if not all of them depict
events-a successful hunt, the victory of the king over his enemies, the death of an important
political or religious leader, or even the ancient incarnation of the Olympic Games are all
examples of events that have been committed in one way or another to works of art.
An easily overlooked opportunity to teach beauty in the everyday context is in the simple
act of coloring a picture. The picture can be chosen to be exciting, dynamic, full of
movement and action, or simple and quiet, with nothing particularly exciting going on
whatever the teacher deems appropriate for the class at that particular time. The actual
lesson is in the process of coloring the quiet concentration, the stirring up of the desire to
color well when exposed to examples the children consider "better," and so on. Within the
context of coloring pictures, lessons on form, light, shading, color harmony, and the like can
be taught organically (i.e., as the need arises) and with relative ease.

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B. Constantly Curious
While curiosity is often cited as a characteristic of scientists, it is also an essential part of

being an artist, albeit that while a scientist might be curious as to what is in the design of a
bird's wing that enables it to fly, an artist might be curious as to how to make the wing "look
alive" even when rendered in a static, unmoving work of art. Where a scientist is curious
regarding the how and why of natural phenomena, an artist should be curious regarding how to
make beautiful things given a set of limitations and parameters.
Because there will always be limitations and boundaries (e.g., lack of materials, lack of time,
lack of conducive environments, etc.), artists should also be constantly looking for ways to
integrate art into areas and disciplines where art has not traditionally been part of. These areas
and disciplines will have their own boundaries and limitations, which for the artists can provide
the impetus for artistic innovations not possible anywhere else. A good example of this can be
found in Singapore's Mass Rapid Transit (MRT) stations, where artwork has been integrated into
the walls of the commuter walkways, adding pops of color and interest into what would
otherwise be a functional but drab commute.
C. Open-Minded
Related to curiosity is "open-mindedness, which is the willingness to be exposed to new

ideas and to consider them on their own merits. It is the quality of not being "locked down" by
a particular set of rules or principles for the sake of tradition, but rather a willingness to wrestle
with ideas and ways of doing things that might be very different from our own-all with the
attitude of learning new things to add to one's "toolbox" of techniques and perspectives.
Some areas where an open mind is an artistic asset are:
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1. Lack of resources
2. The idea of perfection
3. Criticism
The practice of art can be an expensive endeavor-the best-quality materials are never
affordable even when available, and so where certain techniques and processes are not feasible
due to lack of the proper materials, an open mind is needed to perceive and embrace that
which is possible given what is available.
Open-mindedness is also an asset when it comes to the idea of "perfection" in art-a concept
which artists reject. After all, what does perfection in art mean? Fidelity to reality? Then what
do we make of cartoons, comics, and animation? The truth is that there is no such thing as
"perfect" in art without an objective standard, and what most people hold as the standard for
evaluating art is their subjective ideas of what is and is not beautiful. Accepting that perfection
in art is a fool's errand and coming to terms with one's strengths and weaknesses as an artist
are part and parcel of becoming a mature artist.
Lastly, an open mind is necessary for an artist to benefit from criticism. All criticisms, valid
or otherwise, involve a measure of pain for the one being criticized-we are proud of our work,
after all, however middling it might be- and it takes an open mind to accept that there is always
something to learn, always something that can be improved upon, even when presented to us
by unpleasant people in unpleasant ways. Criticism is an inevitable part of being an artist, and
being able to take criticism well is vital to an artist's mental, emotional, and professional well-
being.
D. Art as Authentic Self-Expression
Art can be defined as any expression of the inner desire to create beauty. Thus, the desire
to create something that is beautiful is the defining feature of the artist-i.e., it is what makes an
artist an artist-and any work of art that an artist produces is but an expression of that desire.
Since beauty is varied and multifaceted a thunderstorm can be beautiful, just like a more
pastoral landscape-art can, thus, be varied and multifaceted.
The point is that art is art because the artist wishes to express something- however fleeting
or nebulous that something might be. This is what is meant by art as authentic self-expression.
E. Art as Self-Expression
Expanding this concept, we see that teaching art is not limited to a simple technique the
how of art-but must also include teaching it as a means for students to communicate feelings,
experiences, interests, and desires-the why of art. We can see this idea at play in the tension
between "being true to oneself" vis-a-vis "giving the people what they want."
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This translates to the classroom by teaching students to use their art to express something
that they feel, rather than simply feeding off the works of others the "authentic" part of
"authentic self-expression."
F. Valuing Authenticity
Wrapped up in the mind and heart of an artist is a desire for affirmation- some outside
validation that the work we produce is, in fact, beautiful in the way the artist intended it . That
is, artists want to know that what they wanted to express via their art has indeed been
expressed.
This nuance can be easily lost to young learners, for whom validation of their artwork can
feel like personal validation. As a result, there might be a strong desire to simply imitate the
work of others for the sake of the validation it brings. This is not "authentic self-expression,"
rather it is a kind of "feeding off" of the works of others.
Do note however that it is in the nature of learners to learn via imitation, which should be
encouraged up to a point---that is, once the learners have a firm grasp of how to execute a
technique (via imitation), they should be encouraged to move beyond imitating the work of
others toward creating original work of their own.
Because there will be a tendency for young learners to value others' work over their own,
moving them toward originality involves opening their eyes to the value of their own original
work. This can be done by gently encouraging them to first modify whatever it is they are
imitating to suit their own tastes or satisfy their curiosity: switching up the color palette, for
example, or moving an object in a composition somewhere else. Students need to learn that
this is already a valid creative exercise in and of itself, and only when they are comfortable with
modifying existing work should they then be encouraged to come up with completely original
work of their own.
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G. Enjoyment in the Process
It would be very strange for an artist to not enjoy the process of creating art-after all, this is
one of the reasons why he or she is an artist. An artist must enjoy the process, plain and
simple-or else pursue something other than art.
Let us be very clear with this: Everyone feels the desire to create beauty. but only an artist
perseveres when the process of creating beauty becomes tedious, frustrating, and repetitive for
the sake of producing something beautiful. This is why artists will endure long, lonely hours of
drawing a pattern by hand, for example, or create sketch after sketch after sketch in repeated
attempts to understand the visual physiology of something before committing it to a more
permanent medium.
As an art teacher, you will find learners with a varying degree of patience and grit for the
process of creating art in your classroom: a few will be willing to take the time to carefully and
neatly fill in areas with color, many will start well and then give up as the minutes pass, and a
few will hardly care for any art exercise you give them. You might not be able to turn them into
artists, but the overall goal is to expose them to a wide variety of artistic processes so that they
might find one that they enjoy, as they will be more likely to pursue it to completion.
Make no mistake; sooner or later, the artistic process will become difficult. When it comes to
young learners, the goal should not be attaining mastery of any artistic technique-that will come
with time. Instead, the goal is to teach them to love the creation of beauty, however small it
might appear to us. After all, love makes the labor light.
EXPERIENCE
Answer the following questions. Share your answers with your classmates.
1. Can comic books be considered "art"? Why or why not?
2. Can designing a slide presentation be considered an "artistic" process? Why or why not?
3. Can editing a video to upload onto the Internet be considered an "artistic" process? Why or
why not?
4. Can editing a photo on your phone be considered "art"? Why or why not?
5. These and other questions help reveal our own artistic "blind spots" and biases, which
young learners often do not yet have but can acquire because of a teacher's influence.
ASSESS
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Discuss the following with your peers:
1. How have you come to appreciate beauty in nature and everyday occurrences? Can you
recall if there was a definitive moment, or did you always seem to possess the ability? Given
that young learners are inundated with input from television and the Internet and are easily
excited by hype, how do you think you as a future art educator encourage them to find
beauty in their own ordinary, day-to-day lives?
2. In what ways are you/are you not "artistically curious"? In what ways can art be more
integrated with your own daily experiences and contexts?
3. Do you remember when you came to understand art as being a form of self-expression?
How did you come to realize this?
4. When and how did you come to appreciate the value of your own original work? Discuss
some strategies you might have for teaching young students to do the same.
5. How do you cope with the frustrations inherent in the art process? Share ideas with one
another on how you intend to develop patience and endurance in your future students.
6. How well do you cope with criticism of your art? Do you find that your response depends on
who is giving the critique, and how it is given, rather than what the critique actually is? Why
or why not?
CHALLENGE
1. Critique one another's art portfolios. Try to keep your comments strictly about the art and
not about the artist. Pay particular attention to the following:
o Listen to criticisms of your own portfolio. How many of them contain something you
can actually use to improve your work?
o Consider your own habits when giving criticism: how much of what you say is
actionable on the part of the recipient?
2. Consider an art form that you yourself do not particularly like or enjoy. Why do you dislike
it? List down your reasons. If you cannot identify at least 10 concrete reasons for you to
continue disliking it, consider trying to create a work using that art form and then revisiting
your list of reasons to dislike it to see if they are still true.
HARNESS
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Consider a student who likes to draw but dislikes watercolor painting. Discuss in class
the strategies you might employ to get the student to at least give watercolor painting a
chance.
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C. The K to 12 Elementary Art Education Curriculum
Learning Outcomes
1. Familiarize yourself with the K to 12 Curriculum Framework for Art Education being used by
the Department of Education for Grades 1-3.
2. Familiarize yourself with the Department of Education's overall philosophy and approach to
Art Education in the early grades.
"If you don't know where you are going, any road can take you there,"
- Letter from J.R.R. Tolkien to C.S. Lewis
THINK
The what and the how of elementary Art Education are outlined in the K to 12
Elementary Art Education Curriculum Guide of 2013 from the Department of Education. Copies
of it can still be found online, and as of the writing of this text, no new revisions have been
announced or released.
In this section, we highlight the pertinent features of the conceptual framework,

philosophy and rationale, content, and content standards for Grades 1 to 6 and discuss them
with the intent of enabling the student teachers to understand what exactly the curriculum is
asking from them.
Conceptual Framework
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge.
skills, and values necessary for artistic expression and cultural literacy. The design of the
curricula is student-centered, based on spiral progression of processes, concepts and skills
and grounded in performance-based learning. Thus, the learner is empowered. through
active involvement and participation, to effectively correlate music and art to the
development of his/her own cultural identity and the expansion of his/her vision of the world.
The essence of the conceptual framework for the Art Education curriculum is the "spiral
progression of processes, concepts, and skills:" What this means in the classroom is that the
same topics are taught at each grade level, but increasing in detail, complexity, and
performance standards. The motivation behind this is to give students the opportunity to truly
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appreciate and understand the concepts being taught as their applications increase and
broaden with each grade level.
Right away, this poses a question to would-be teachers: "Do I understand a concept
thoroughly enough to teach at different levels of complexity?" For example, take the concept of
composition: How can it be taught to a first grader? How will the same concept be taught for a
second grader? What will my lesson on composition look like by the time teach it to sixth
graders?
As Music and Arts are performance-based disciplines, effective learning occurs through active
experience, participation, and performance, creative expression, aesthetic valuation, critical
response, and interpretation. The skills that are developed include reading/analyzing,
listening/observing, performing, singing, using musical instruments, movement, acting, and
playing, using different art materials, techniques and processes, responding, composing, and
creating.
Here we see that the primary means of teaching art is through "active," ie., hands-on
experience: learners must do art in order to learn art. This straightaway relegates teaching via
lecture and discussion to the minimum, implying that a teacher of the arts must actually be
skilled at said art and artistic techniques in order to demonstrate them for every student to then
imitate and thus learn. Every concept we wish the learners to understand, every attitude we
wish for them to develop must be taught in the context of hands-on activities and by going
through the process of experiencing art.
Philosophy and Rationale
The philosophy and rationale of the curriculum is the country's answer to the question,
"Why teach art in basic education?" According to paragraph 2:
The Arts is a visualization of a people's history and uniqueness, a reflection of their creativity
and accomplishments, and a visible expression of their distinct way of thinking. communicating,
reasoning, and worshiping. It is expressed in a unique symbol system that is visual, kinetic and
tactile...Arts develop a distinct way of seeing, thinking, communicating. and creating in a
person. Furthermore, Art develops and increases a person's ability to apply creative and new
solutions, for new problems in our world. Schools, therefore, need to develop the multiple
intelligences of a student through the arts.
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As we read here, Philippine Arts and art by Filipinos are a visual manifestation of what
makes us Filipino-it is an expression of our identity as a people and a nation. This identity
informs how we think and behave from day to day, and so DepEd views the teaching of art in
basic education a worthwhile endeavor. The curriculum acknowledges that the 21st century a
unique period for the arts. Nearly all information has a visual aspect to it which is easily
accessible via the Internet. To address this, the curriculum philosophy states in paragraph 3:
Teaching Art to students is one way for them to process and interpret the barrage of images
and sounds, in a critical and intelligent manner
As a final point, the philosophy statement in paragraph 4 reads:
The focus of the K to 12 Art curriculum is PHILIPPINE ART, CULTURE and HERITAGE
appreciating the diversity of our local artists, our arts, crafts, and indigenous materials to
strengthen the student's identity of being Filipino, before he/she is introduced to the art of
other countries.
Here we see the how of the what: art is to be taught in basic education in a manner
that informs, enlightens, supports, and promotes Philippine culture It is up to the teacher to
take the content standards and competencies listed in the curriculum guide and then deliver
them to the students in a way that places Philippine art, culture, and heritage in a place of
prominence in their minds. With the amount of foreign art they are exposed to on a daily basis
via the Internet, this is no easy task!
Elements, Principles, and Processes of Art Education
From page 6 of the curriculum guide, the following elements, principles, and processes
of Art Education are presented:
Art Elements and Principles Art Processes

 Imitating (Recreating)  Seeing/Observing
 Responding  Reading
 Creating  Imitating (Recreating)
 Performing (including movement)  Responding
 Evaluating  Creating (Original works)
 Analyzing Critically  Performing (different art processes)
 Applying (Transference)  Evaluating
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 Analyzing Critically
 Applying (Transference)
The elements and principles listed on the left can be thought of as the "Theory"
component of Art Education; that is, the big concepts the learners must come to understand.
The processes on the right are the things to be done in order to teach the concepts on the left.
Notice that there is no big difference between them: the principle of imitation (creating a thing
again) is taught via imitation. The skill of critical analysis is taught by analyzing Art with a
critical eye. This nearly one-to-one correspondence reinforces the philosophy of Art Education
that learners learn art by doing art, not by merely talking about it.
Standards
When reading the DepEd curriculum guide, it is important to bear in mind that standards
refers to what the program is trying to teach, defined at four levels: the Learning Area
Standards set the learning goals for the entire Art Education endeavor in basic education; the
Key Stage Standards define these goals for the K-3, Grades 4-6, and Grades 7-10 levels; the
Grade Level Standards break them down further per grade; and the Content and Performance
Standards define these goals at the classroom level.
For the purposes of this text, the first three standards are quoted here from pages 7 and
8 of the curriculum guide:
Learning Area Standards
The learner demonstrates an understanding of basic concepts and processes in music and art
through appreciation, analysis and performance for his/her self-development, celebration of
his/her Filipino cultural identity and diversity, and expansion of his/her world vision.
Key Stage Standards for K-3 and 4-6
The learner demonstrates understanding of fundamental processes through performing,

creating, and responding, aimed towards the development of appreciation of music and art, and
acquisition of basic knowledge and skills.
Grade Level Standards for 1-6

Grade 1 The learner demonstrates basic understanding of the fundamental processes in
music and art, through performing, creating, listening and observing, and
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responding.
Grade 2 The learner demonstrates basic and fundamental processes in music and art,
through performing, creating, listening and observing, and responding.
Grade 3 The learner has acquired the basic and fundamental processes through
performing, creating, listening and observing, and responding, towards the
development of appreciation of music and art, and the acquisition of basic
knowledge and skills.
Grade 4 Through the formal introduction of elements, the learner can identify the basic
knowledge and skills in music and art, towards self-development, the
celebration of Filipino cultural identity and diversity, and the expansion of one's
world vision.
Grade 5 Through exploration, the learner demonstrates a deeper understanding of
basic knowledge and skills in music and art, towards self-development, the
celebration of Filipino cultural identity and diversity, and expansion of one's
world vision.
Grade 6 Through application, the learner demonstrates understanding of the basic
concepts of and processes in music and art, towards self-development, the
celebration of Filipino cultural identity and diversity, and the expansion of one's
world vision.
Very quickly, we can take note of a few things:
 The Learning Area Standards indicate that the purpose of learning the fundamental
principles and processes of Art are ultimately for the learner's "self-development,
celebration of his/her Filipino cultural identity and diversity. and expansion of his/her world
vision."
 The Key Stage Standards for K-3 and 4-6 are identical, and indicate that teaching Art in
these areas are aimed at "the development of appreciation of music and art, and acquisition
of basic knowledge and skills."
 The Grade Level Standards for 1-3, although worded differently, are identical in purpose.
 The Grade Level Standards for 4-6 are all aimed at "a deeper understanding of basic
knowledge and skills in music and art, towards self-development, the celebration of Filipino
cultural identity and diversity, and expansion of one's world vision." However, they differ in
their delivery and degree:
o Grade 4: "Through the formal introduction of elements, the learner can identify the
basic knowledge and skills in music and art..."
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o Grade 5: "Through exploration, the learner demonstrates a deeper understanding of

basic knowledge and skills in music and art..."
o Grade 6: "Through application, the learner demonstrates understanding of the basic

concepts of and processes in music and art..."
These observations imply the following:
1. Art is simply to be done in Grades 1-3. There is no emphasis on the students identifying
anything. They simply do art, via “performing, creating, listening, and observing, and
responding.”
2. In Grade 4, students learn to identify the things that they have been doing since Grade 1.
The term “formal introduction” implies an explanatory element to art lessons covering the
what, how, and the why of artistic principles and processes.
3. In Grade 5, students are expected to explore the range of artistic experiences they have
been given thus far, executing the learn processes at a higher, more refined level of
proficiency but also in evaluating and critiquing the works of others.
4. In Grade 6, students are now expected to apply all their skills and knowledge in the creation
of original works.
The Curriculum and the Classroom
Beginning on page 9 of the curriculum guide, we get into the specifics of what topics are
to be taught, what learnings should the learner gain from them, and how these learnings are to
be demonstrated in class as evidence that learning has taken place. As the curriculum guide
lists all of these per grade level and per quarter, we are only reproducing the guide for Grade 1
for the first quarter (pages 9 and 10) for the sake of illustration and discussions:
Grade 1 – First Quarter

Content
I. Elements II. Principles III. Process
1. Lines 5. Balance 8. Drawing
2. Shapes 6. Proportion 1. Portraits
3. Color 7. Variety 2. Family Portraits
4. Texture 3. Persons
4. School, Furniture
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5. Animals/Plants
Content Standards
The learner...
demonstrates understanding of lines, shapes, colors and texture, and principles of balance,
proportion and variety through drawing
Performance Standards
The learner...
creates a portrait of himself and his family which shows the elements and principles of art by
drawing
Learning Competencies
The learner...
 tells that ART is all around and is created by different people: distinguishes and identifies
the different kinds of drawings:
1. portraits
2. family portraits
3. school ground
4. on-the-spot
5. drawings of home/school surroundings
 observes and sees the details in a person's face/body, in a view, to be able to show its
shape and texture
 identifies different lines, shapes, texture used by artists in drawing
 uses different drawing tools or materials: pencil, crayons, piece of charcoal, a stick lon
different papers, sinamay, leaves, tree bark, and other local materials to create his
drawing
 creates a drawing to express one's ideas about oneself, one's family, home, and school
 shares stories related to his or her drawing
 draws different animals (pets) showing different shapes and textures
 creates a view-finder to help him/her select a particular view to draw
 draws different kinds of plants showing a variety of shapes, lines, and color
Taking this as our example and following the table from left to right, we see the topics
to be covered in the first column, followed by what the learners should learn via those topics in
the second column. In the Performance Standards column, defines what the learners must do
as proof that the desired learning has taken place-in this case, create a portrait of themselves
with their families in a way that demonstrates the elements and principles listed in the first
column. This can be thought of as the "final activity" which, if the learners can do it, proves that
they have learned all that was intended for the first quarter.
Lastly, the Learning Competencies column specifies the various behaviors that students should
exhibit in the classroom in response to the learning activities put forth by the teacher. In a
somewhat oblique way, these also specify the kind of activities the teacher is expected to
conduct in the classroom.
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If all this seems confusing, that is because it is confusing; not to mention that at a
number of points, the Learning Competencies contradict the Grade Level Standards. Take items
2 and 4, for example, where the learner is expected to identify elements of art, whereas the
Grade Level Standards specify identification as a competency for Grade 4.
To navigate these confusing and sometimes contradictory statements within the

curriculum guide, the student teacher is advised to keep in mind that the curriculum guide is a
guide--it was never intended as the be-all and end- all of what takes place in the classroom. A
teacher trained in the arts can and is expected to interpret the standards and competencies
according to what is most appropriate for his or her learners and his or her school and
classroom contexts and environments. The competencies listed merely serve as a kind of
lifesaver for the teacher who somehow does not know what to do an all too common
occurrence in the Philippines where teachers trained in one particular discipline find themselves
having to teach another.
Remember this fundamental truth: The curriculum guide is useful and important, but it
is not the teacher-you are.
EXPERIENCE
1. Create a detailed lesson plan for a single, first quarter art lesson with a Grade 1 class.
Be sure to include not only your intended activity/activities, but how they address the
content standards.
2. Share your work with the class. Adjust your lesson plan in accordance with any valid
critiques and recommendations that result from the discussion.
ASSESS
Consider the Grade Level Standards for Grades 1-3 vis-a-vis the curriculum guide for
Grade 1 Art: We noted that the standards imply that Art is simply to be done in Grades 1-3, yet
the curriculum guide lists topics. How will you, the classroom teacher, reconcile the two?
Discuss your answers in class.
CHALLENGE
Appreciating the products and processes of art is a major objective of Art Education in
the elementary grades-but what does it really mean to "appreciate" art? How will we know that
the students "appreciate" art? And what are the different ways in which art educators can foster
this "appreciation? Discuss your answers in class.
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HARNESS
In the light of the content standards Grades 1-3, create a lesson plan for a Grade 1 class
using the curriculum guide reproduced on pages 32-33. Pay particular attention to ensure that
the lesson is taught integratively (that is, the different parts are integrated rather than
separated). Share your plans with the class and discuss their strengths, weaknesses, and areas
for improvement.
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UNIT II
Instructional Planning
in the Visual Arts
A. Instructional Planning
Learning Outcomes
1. Explain the importance of instructional planning.

2. Discuss the considerations in preparing an instructional plan.
3. Discuss the realities of implementing a lesson plan in an actual class.
"All things are created twice.

There's a mental or first creation, and a physical
or second creation to all things."
- Stephen R. Covey
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Like creating a work of art, teaching art effectively involves planning before doing. When
artists create a work of art, even if it seems spontaneous, they first create a vision in their
minds before creating it with their hands. For veteran art teachers who can visualize the
planning process mentally, a rough outline may do. But if you are a novice art teacher, it is
important to have a well-written flow of your activity otherwise, teaching art especially to
younger kids can be more challenging. For professional art teachers in schools, a detailed
lesson plan based on the curriculum is required.
THINK
Importance of Instructional Planning
Having an instructional plan helps teachers stay on track with the lesson and achieve
learning objectives. It determines the clear objectives for each session, and helps teachers
prepare materials, conduct procedures safely, and assess appropriately. It helps you see the
whole picture and set the flow of the lesson. Ideally, teachers should follow the curriculum set
by the school, however art involves a lot of creativity and spontaneity. Sometimes the art
teacher and students may get lost in the process through exploration and discovery. This can be
problematic if you are trying to comply to a set of standards in a limited time frame.
Following the lesson plan is important. But at the same time, keep your plans flexible,
leaving space for serendipity and unanticipated learning (Douglas & Jaquith 2018). Planning
helps manage time and resources and foresee different possibilities; what will work and what
will not. The teachers can prepare a backup plan just in case things might not work the way
they expected. Planning the materials needed is also crucial. For some teachers, it is the other
way around. The planning is set based on materials available. Planning the classroom setup and
seating arrangement is also very important. Setting up an art room can take a lot of time, and
knowing whether you're going to use the tables, desk chairs, or the floor beforehand can save
you a lot of stress and time.
In teaching art in schools, it is necessary to plan your lessons based on the school's
program and curricular plan. As a new art teacher, make sure to inquire about the expectations
for exhibitions, interdisciplinary connections, annual budget, school guidelines, and special
events in your school. Some schools may not allow working outdoors, using paints that may
cause damages to properties, students buying their own materials, etc. Make sure to also align
your activities with the curriculum you are using. For public schools, the learning competencies
can be found in the DepEd K to 12 Curriculum Guide. The following diagram shows the process
of creating a lesson plan while considering the reality of situations up to implementation.
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Curriculum
(Goals and Content)
Curriculum Curriculum Curriculum
(Goals and Content) (Goals and Content) (Goals and Content)
Curriculum
(Goals and Content)
Preparation of the teaching plan based on the guidelines for learning (Translated from Takeuchi
2010)
Creating a daily lesson plan based solely on the curriculum without considering other
can be frustrating for teachers if the resources, time, and logistics are limited. Therefore,
practical considerations for your curriculum must take into account the realities of your teaching
situation (Douglas & Jaquith 2018).
Classroom Management and School Situations
Unlike other subjects, Art can be challenging because it involves a lot of materials and
hands-on activities. Among young children, the most popular are painting and clay but most
teachers opt to compromise the activity to make it more manageable, practical, and fast.
Lecturing to a class of 50 students is difficult. But it gets more challenging when you are dealing
with messy materials and changing logistics. Some teachers are lucky to have their own art
room. But some teachers need to move around and conduct their classes in homeroom
classroom where they share with another teacher. This can be very time-consuming especially if
you are an Art-in-the-cart teacher where you bring your materials around the school. Some
teachers also teach Music, PE, and Health and handle up to 600 students per week. That is like
four classes of 50 students per day, three times a week. In some schools, art teachers teach
ALL grade levels from 1st grade to high school. Sometimes, it gets exhausting and frustrating
for the teacher to prepare for all classes. But that is the reality if you are teaching Art as a
subject in a school. It is tiring but can also be fun, especially when you see the students enjoy
and express themselves through art.
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Students' first time to try painting. Using paints can be messy and requires a bigger space. Long
tables provide ample space for sharing paints, water containers, and mixing palette. Newspapers
are taped and layered on top of the table for easy cleanup. Photo taken by Teacher Precious from
PAAFI's art program in Region 1 (2018).
Things to Consider in Preparing an Instructional Plan
Teaching Art can be challenging especially if you do not have your own art room or if
you lack resources and materials. Assessing your student's present level of knowledge, skill,
interests, and work habits is also important to validate whether your plans can work or not.
Many teachers struggle following the lesson in the curriculum due to limited resources especially
when they have very limited time. Art, unlike other academic subjects, is a more experiential
learning activity with messier and time-consuming hands-on tasks. Setting up the tools and
packing away the materials involve a lot of time. Cleaning, proper storage, and filing should also
be planned ahead so that you won't stress about spoiled, ruined, or misplaced works. All of
these are important considerations to have a more efficient and less stressful execution of your
lesson. Here are some guidelines that you should consider in planning your art class.
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A typical art room with long tables in Japanese schools
Know your students. Know their strengths, weaknesses, threats, and what makes them excited.
During the first few days of the school year, start with light but personal activities. Young
students can either be too excited or hesitant. Open-ended activities but with templates are a
good start to gauge student level and skill. This will serve as your baseline. Remember to also
take note of each student's individual strengths and struggles per class. Identify what motivates
them by knowing their interests and how they respond to certain themes. As a teacher, know
what makes these young kids excited. It is also important to identify triggers for certain
behaviors, especially if you are teaching a mixed-level class or children with special needs. It is
important that at the beginning, you know who among your students can get too excited to
play with paints, scissors, pencils, etc. Doing so can prevent behavioral problems, such as lack
of motivation or aggressive behavior. If you know your students well, you can be three steps
ahead and prepared for the best- case and worst-case
scenarios.
Plan for students' safety.
Always keep this in mind when teaching and make

sure to always consider students' safety. Young children can
get really excited or frustrated during art class. This is also
the stage where they will be sing some of the art materials for the first time. Make sure you
know where all the sharp objects are and if you are teaching younger kids, make sure to keep
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them out of reach. Also, if there is a kid who has a tendency to use scissors as a toy or gets too
excited when cutting, make sure to proceed with caution.
The continuum of choice from learner-directed art making (left) and teacher-directed
assignments (right)
> More Choice Less Choice <
> Learner-directed Teacher-directed <
> Focus on process Focus on product <
>Emergent Curriculum Explicit Curriculum <
Learner-Directed Theme or Media Skill builders Teacher - directed
Focus
No teacher Teacher assigns Teacher assigns Teacher assigns
assignment; Teacher open-ended theme media, techniques, concept, media, size,
as facilitator OR specific media. quantity, and duration, and
duration. assessment.
Learner chooses: Teacher and learner Learner decides on Learner has minimal
 Media negotiate: how to incorporate input, such as size
 Content  Media these skills in future and color.
 Size/Format  Content work.
 Collaboration or  Size/Format
individual work  Collaboration or
 Duration individual work
 Duration
Th
e Continuum of Choice (Jaquith, 2015c). Choice is offered in different amounts with shifts in control from
teacher to students, depending upon the goals of instruction (Douglas & Jaquith 2018).
Give emphasis on teaching the proper usage and storage of materials in class.
How to use and store scissors properly
 How to use and store scissors properly

 Do not over sharpen pencils. Make sure to dull the lip.
 Use nontoxic materials only in case of accidental ingestion of paints and adhesives.
 Beware of choking hazards (beads, pompoms, small items).
 Beware of allergic reactions (skin contact and inhalations of substances).
 Be careful of wet slippery areas due to spillage of water containers.
Select your materials carefully. Consider the availability of resources.
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Choosing the right media is crucial when planning an art activity. Sometimes you have to
improvise because materials might not be available or not be enough for the class. Plan your
lesson according to the materials that are available and appropriate. Don't make the mistake of
excitedly preparing for a painting class only to know that there is no water source nearby. You
need to know how much materials are needed and how much are available for you to use. You
may find a very interesting online, however, the materials are not available in your area. Or
maybe the curriculum stated to use acrylic painting on canvas but you know that your students
may find it difficult to get this due to their location or economic status. You have to consider
whether you can provide the materials for your students or if your students can provide their
own materials. Consider these questions:
 Is it readily available in your area?

 Do your students have the capacity to buy it?
 Can you improvise? Are there alternatives?
 Does it have to be individual or can it be shared by the group?
Proper care for the materials
Art materials do not come by easily so we have to teach how to respect and take care of
the materials so these will last longer. Make sure to plan how to teach proper care and storage.
For example, when painting make sure to clean art brushes thoroughly right away especially if
you are using acrylic. If you do not have access to a sink, put buckets of water inside the
classroom as water source. Take note that prolonged soaking on water can permanently
damage the brush, Palettes should be cleaned regularly. But if you still have a lot of leftover
paint, you can put a hard plastic cover on top then leave it to dry. Dampen it with drops of
water to soften the paint. Then you are ready to use it again. Keep these tips in mind and
prepare to teach it as part of your lesson.
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A classroom has no sink and water supply nearby so the teachers provided a big water container
so that students won't have to walk far to replace water for painting and cleaning their areas. Sta.
Cruz Elementary School, Ilocos Sur
Maximize workspace, venue, and water supply.
All of these have to be considered when planning your lessons. Make sure that all of
these are addressed no matter how fun the activity might seem or you will end up in chaos.
That is why a lot of teachers do not do fun activities because most of them require a lot of
preparations and considerations to keep the room clean. When deciding to push through with
an activity, you have to consider these questions:
 Are you working on the desk tables, long tables, or the floor?
 Can the tables get painted or should you cover them with plastic or newspaper? Are you
allowed to mess up the floor or should you be very careful for paint drips?
 If you are using paints, do you have water supply, like a sink, buckets of water, or dump in
your room?
 Where are you going to throw your dirty clay water to prevent clogged sink?
 Does your room have ample lighting? Big windows with natural light (drawing and painting)
or lamps?
 If you are using acrylic, ail or spray paint, does your room have proper ventilation? Can you
work outdoors?
 Do you have proper waste disposal bins for messy paint or big stuff?
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 Will you be having your own room? Or are you an Art-in-the-cart where you will be traveling
room to room?
Art-in-the-cart setup for roaming art teachers

who don't have a classroom. All art materials
including equipment are in the cart. You can use
a plastic box on a trolley, a small shopping cart
or a Raskog trolley.
Manage TIME wisely. Be prepared. Set a routine. Create a system. One factor that all teachers
are struggling with is time management. In preschool, art classes on average only last for 30
minutes, while elementary classes last up to 45 minutes. This is a problem especially for those
who do not have their own room because they have to set up an "atelier" for every session.
Some teachers such as I, do that. You should have a system for how to set it up as fast as
possible through the help of your students. Another important thing is the time to clean up
which takes around 5-10 minutes if not planned property. Being an Art-in-the-cart teacher is
very challenging because you really have to make sure everything is organized. Sometimes we
tend to forget something from the storage or from the previous room and it takes a lot of time
to get it. It happens a lot. For some teachers, they only have 40 minutes for a whole session.
That is like 10 minutes to set up and 10 minutes to clean up and sort the artworks and
materials leaving only 20 minutes for the actual work. This is ideal for preschoolers but too
short for grade schoolers. This is a challenge because some kids take time to be "in the zone"
where one is focused and so engrossed with their work but when the time comes that they are
at the peak of their creation, it is time for the next subject. However, for us teachers, time
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allotment is out of our control so we have to make the most out of it. Routine and delegation
are key factors.
A student works on the floor for more space and flexibility of movement. Children seem to be
comfortable working on the floor. It provides a flat surface without worrying about materials
falling off the table. Mats and cardboard are used to cover the floor to prevent stains.
Begin with the end in mind. Afterworks: Postproduction. Logistics is a very important
consideration in teaching art. In the art world, postproduction is a major part of the creation
process. Artworks, just like materials should be stored properly. This is one of the parts
struggled the most as an art teacher. If you do not have a teacher assistant and proper storage
for the artworks, these would pile up and you will have a hard time keeping track of which class
do these belong to. If a vertical file is not available in your room, you can talk to the homeroom
teacher and ask if the works can be dried on the floor in one corner of the room. Once dried,
the teachers can place it in their folders. I also have rainbow file where I store artworks per
section. However, you have to empty and distribute it every quarter so it won't pile up. This is
important especially when drying glue or watercolor to avoid drip marks. But be careful for wet
glue parts as they can get stuck together. In planning your class, you have to consider these
questions:
 How will the artwork be stored? What about unfinished artworks?

 Is it going to be posted on the wall, inserted in students' folios, framed, shared to everyone
online, or brought home?
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 Is there a safe drying area in your room to dry the students' works flat? Can you store them
vertically?
Left: Sample storage filing rack for 2D artworks Center: Drying rack for wet paintings.
Right: Sorting out artworks. Sort artworks as soon as possible or as soon as wet works have dried.
 How will you document works for assessment?
Conducting an art class is like preparing for a battle: getting information about your
students, assessing available materials, and learning how to maneuver the space to your
advantage. These are all important considerations in instructional planning in order to have a
more efficient, fun, engaging, and stress-free art class.
EXPERIENCE
Work by pairs and interview public school and private school art teachers. Complete the table
and compare their answers.
How often are you able to implement the lesson What factors lead
according to the curriculum EXACTLY as planned? to your answer?
Always About half the Seldom
time
Drawing
Coloring (dry media)
Painting (wet media)
Sculpture and 3D
Printmaking
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Crafts
Based on their answers, can you infer?
_____________________________________________________________________________
_____________________________________________________________________________
ASSESS
List three reasons or advantages of having a lesson plan.
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
CHALLENGE
Discuss the following:
Mrs. Santos will be conducting a painting activity for her art class. However, their school
is located in an area where paint supplies are scarce. After assessing the student situation, she
realizes that not all students will be able to buy their own paint. The school also cannot provide
painting materials and only has armchairs available. The learning competency is to sketch and
use complementary colors in painting a landscape (ASPL-lid).
HARNESS
If you were Mrs. Santos, what would you do? How would you plan for this activity?
Think of solutions then write a paragraph detailing your plan with considerations to the
curriculum and resources available. Discuss your answers in class.
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
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B. Setting the Objectives
Learning Outcomes
1. Differentiate a teacher-directed approach and learner-directed approach in teaching art.

2. Recognize the different purposes of an art activity in varied settings.
3. Examine the factors in choosing an appropriate art activity for students.
"The important thing is to arouse in children a real feeling for life;

and color and form have the power to lead right into life…
these details are essential to the vitality of the work.”
- Rudolf Steiner, 1922,
The Spiritual Ground of Higher Education
Sky Balloons (2017), Special needs students' collaboration, acrylic on canvas. An example of a
differentiated activity for students with varied abilities. Some students painted an abstract
background using sponges, brushes, and tissue with glue. Another student sketched the hot-air
balloon using oil pastel. When painting the balloons, a stencil was used to keep colors inside the
shapes. It is easier for the student to use ail pastel for sketching his ideas on canvas instead of a
paintbrush which requires more dexterity and can lead to a messier work. Photo by Teacher
Precious.
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THINK
The Continuum of Choice
In setting your learning objectives, it is important that you determine what your goals
are before planning out or selecting an art activity. You can find a fun activity from Pinterest (an
online art and crafts social media sharing site) that seems fun to do in your Grade class,
however, if it is out of topic and does not fit your curriculum goals, you may have to set it aside.
Examples of art activities that are teacher-centered, with one expected output: directed-drawing sheets,
coloring pages, DIY kit, copy and paint activities, and templates
When introducing a new material or technique to children, it is common for teachers to

teach step-by-step, however, a good art teacher should not expect an exact outcome, rather,
give students an opportunity to practice creativity and independence in finding solutions (Hume
2008). A template or predesigned craft kit is an extreme example of knowing in advance what
the end product will be and is not an ideal practice to develop artistry and creativity. Art-making
is not just about assembling elements and things together in a skillful manner to create a
product. The difference between personal art and a well-crafted mass- produced "art" product
is that personal art reflects the soul of the creator and is oftentimes unique in the world. That is
what the art teacher should always consider when teaching art to children. Technical skills and
understanding concepts and principles are just tools for the child-artist to effectively express his
or her thoughts, feelings, desires, and experiences to the world, but should not be the only
focus for teaching art.
Teaching children in the early grades, especially children with special needs should
always be given the opportunity to practice the freedom to choose and decide for themselves
even if it is a small aspect of the art-making process. Sometimes, elementary teachers dwell too
much on attaining the learning competencies that they forget to enjoy the art-teaching process
as well. Art teachers are also artists, and in order to be an effective art teacher, one should
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teach with his or her heart and soul, otherwise, it is no different in training employees on how
to assemble predesigned products in a factory.
In Teaching for Artistic Behavior (TAB), Douglas & Jaquith (2018) explained the
progression of choice which is how tasks and decisions are prescribed by the teacher versus the
freedom of choice of the student. TAB is a choice-based approach wherein students are taught
skills and concepts by exploring different media centers, then are soon free to choose to work
on their own concepts, materials, tools, and techniques toward the end of the quarter or school
year. Students are given opportunities to explore, take risks, make mistakes, and decide for
themselves. Teachers most of the time are facilitators of learning.
"Children create art not because they want their works to be posted in
museums or sold in art galleries. Children draw, color, paint, and build
because it's fun and it helps them express their thoughts, feelings,
experiences, and wishes."
- Teacher Precious
Examples of skill builder exercises. Students practice tonal values using graphite on paper. The teacher
guides the students to make sure they are able to render dark, medium, and light tones to illustrate the
illusion of form in their illustrations. Left: Drawing using a grid system to ensure proper proportion of facial
parts. Right: Tonal value scale practice applied to illustrating own character.
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"Octopus," "Mom," & "The Sea" by Ari, 4, Ink on paper. A classic example of contour line drawing done
spontaneously based on the child's imagination and perception of the world, without intervention of adults
Approaches in Teaching Art
Teacher-Centered Approach
In a teacher-directed learning, the

teacher sets the objectives of the activity,
materials, techniques, theme, etc., and
follows the curriculum goals intended for
that grade level. The teacher enumerates
the exact materials to be used and is often
strict upon using other than what's
prescribed. Depending on the unit plan, the
activity might also be focused on the
technique; example, chiaroscuro painting,
shading using graphite, weaving, etc., in
which case, the students should follow
criteria to achieve a certain standard. The
theme is also prescribed in which students
are only allowed to use subjects and
elements within the topic and adding a Still life flowers. Oil pastel on felt paper. Students were
personal touch or deviating from what is tasked to draw flowers on a vase showing highlights
and shadows. This kind of teacher-directed learning is
expected will result to criticisms from the
ideal when introducing a skill for the first time and a
teacher, even if it shows creativity and repeated exercise is a good practice to master a skill
imagination. such as shading.
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In some technical and specialized art programs which focus on developing skills in
drawing, animation, painting, or crafts, a syllabus serves as guide to distribute each topic into
the number of sessions available for the school year. Some classes meet once a week, some,
twice, and some every day. Planning is crucial so that the teacher can make sure that each class
can cover the topics needed to comply with the performance and content standards by the end
of the quarter. Planning by following the unit plan also ensures continuity of content and
progression of skills and techniques used per activity. In this case, there is already a definite
expected output from the child for each session.
Portraits of the Ifugao men wearing headdresses and costumes (Pepi, 9 and Fonzie, 6). If the
set learning competency was to paint a picture of a Filipino tribe in their traditional costume,
students are expected to comply. If a student wants them to wear a helmet and have spaceships
in the background, he or she might not be encouraged or allowed to do so, even if the student
can justify through his or her imagination that they are "modem tribal men in the mountains
who are abducted by aliens." In some cases, the teacher may allow, especially among younger
children. But in a teacher-centered approach, students are required to follow the objectives and
meet the assessment criteria set by the teacher.
In a learner-centered approach, the teacher acts as facilitator and involves a more

spontaneous teaching or open-ended activity that gives more opportunities for student-lead
exploration, self-expression, and decision-making. The flexibility of a student-centered approach
is ideal for younger children who may not have the same way of thinking as adults. The
standards are also not time-bound and limited, rather, will be dependent on the child's
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individual progress and interests. The teacher gives in to more unintended ideas and actions of
the student. A good example of this is Teaching for Artistic Behavior (TAB) wherein students are
encouraged to work with the theme and medium that they want in so-called 'media centers"
(paint centers, drawing centers, clay centers, etc.). A learner-centered approach is also ideal for
teaching children with special needs who have different levels of skills, needs, interests, and
responses, especially when teaching in a mixed-level classroom.
Setting Objectives for a Discipline-Based Art Education Approach
In setting objectives for a learner-centered approach, teachers should focus on

developing the child's creativity and self-expression through choice-based theme and medium.
In TAB, themes must connect with students' lives and interests to be effective. Topics for
themes can come from students, current events, classroom studies, or can emerge directly out
of student work (Douglas and Jaquith 2018).
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In a learner-centered approach, the teacher should consider the students' inputs to

know what and how they want to learn and what they want to do. New ideas and methods are
encouraged so that no artwork will look the same.
In most after-school art workshops for younger children, the focus of an activity is for
enjoyment, fun, and exploration (Art as Play). The focus is on experimenting with different art
media, themes, and techniques. Teacher acts as facilitator, demonstrating a skill or technique,
then gives the students freedom on how they will apply what they have learned using a theme
that they like. Aside from the standard performance assessment (rubrics), other factors are also
taken into account. These include observing the students during the process, talking to them
about their work, and even how they critique other's work. Written exams are rare since
students will be showcasing their work and through performance tasks. Although this approach
seems fluid and unpredictable, it requires careful structuring, space planning, and proper
distribution of resources. In the Reggio Emilia approach, this safe space is known as "The
Atelier" where children can do creative experimentation. In Teaching for Artistic Behavior, these
small areas are called "media centers" where children can explore and safely make mistakes
while working on a topic and material that they want.
Teaching for Artistic Behavior - Also known as TAB, this approach has a curriculum: the
child is the artist, what do artists do, and the art room is the art studio. Children learn the basic
theories, concepts, and skills then toward the end of the month, quarter, or semester, they will
choose a problem or a theme that they want, then work on it until they are able to create an
output based on their skill and medium of their choice.
Reggio Emilia This approach uses a constructivist self-guided curriculum that applies
self-directed, hands-on experiences in relationship- driven environments that focus mainly on
early childhood education (Moss 2019). Students can develop all their senses through artistic
exploration and experimentation.
Rudolf Steiner-Also known as Waldorf education, this places the greatest importance on
giving children what is appropriate for their age, with "artistic love and loving art" (Steiner
1922) Teachers cater learners' imagination and creativity not only in art, but as a holistic
approach to teaching other subjects.
Learner-Directed Art Activities Teacher-Directed Art Activities

Focus For fun and self-expression To develop skill and learn content
Descriptions  Aim for holistic and age-  Aim for habituation and mastery
appropriate learning of skills based on standard
competencies
 Guidelines and rules are flexible.  Discipline in following rules and
 Students can choose content guidelines
(personal experiences and  Teaching unfamiliar content
interests). (history, theories, principles)
 Content is familiar and relevant  Detailed assessment and
to the student. criticism.
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 Quality of work is mostly  Quality of work is mostly

dependent on student's intrinsic dependent on student
motivation. performance and compliance
Priority for  Student enjoyment  Student application of learning
Assessment  Process (observation, (skill and content)
documentation, discussion)  Product (artwork)
 Artist statement
Ideal for  Kindergarten and early grades  Upper elementary grades
 Children with special needs  High school students
 Students who are first-timers or  Learners who demonstrate
unfamiliar with art-making exceptional artistic performance
 People who have no confidence and creativity
in doing art  People who already have strong
artistic and creative foundations
Example  Self-portrait and friends  Still life of fruits or flowers
Lessons  Still life of objects that like  Philippine traditional weaving
 My first experience with the designs
doctor/dentist  Works of national artists
 Our summer vacation displayed in the museum
 My favorite pastime (My favorite  The different textile traditions
online game) and designs in China, Korea, and
 My house and my community Japan
 What like (flowers, butterflies,  Painting the old houses and
princesses, mode of transport, churches within the community
planets, the solar system, etc.)  Drawing of the bahay kubo,
 Assembling (using cardboard to torogan, bahay na bato, etc.
create my imaginary car)  Creating a digital painting similar
 Painting and playing using paints to the works of Van Gogh,
Amorsolo, Picasso, etc.
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A differentiated approach in illustrating the human figure using basic shapes while
demonstrating the line of action. Students chose their favorite sport or dance
move as theme. Students who were advanced made detailed drawings,
intermediate students traced a stencil, while those who need extensive support
used paper cutouts then assembled the form on paper. Photo by Teacher Precious
in One World School
At an early age, it should be embedded in children's mindset that art is used mainly to
express oneself to the world. They should learn that art is something personal no matter how it
is presented and therefore can be subjective. Once their values about their own art are
solidified, then they can observe the work of the masters and other communities to get
inspiration. By this time, they are able to understand that these works are also expressions of
other artists and culture, and that these are personal and their expressions of themselves as
well. They will learn to be more open-minded curious on what inspires these artists, and less
critical of others. Teachers should always keep those in mind when planning and selecting the
objectives for an art activity. Teachers should be able to discern how to balance a learner-
centered and teacher-centered approach.
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Sample objectives based on the DepEd Curriculum standards demonstrating a balance between
Teacher-directed Approach and Learner-directed Approach
Topic Sample objectives
Human Body in Motion  To draw the human body using basic shapes
Considerations: - circle for the head
- trapezoid for the torso
 Younger students can be taught proper - rounded rectangles for the arms and legs
proportion but should not get a lower grade
because of disproportionate body parts.  To demonstrate body movement and direction
 If the objective is to illustrate body by following the line of action in figure
movement, the assessment should be on the drawing
process of how they are able to break down  To express one's favorite sport or hobby by
the shapes while following the line of action. drawing a human figure in action with
Ex: taking a photo of themselves doing the costume and background
action, then copying it, asking a classmate to
model the movement live
Traditional Weaving Designs and Textile Patterns  To make three studies of different patterns
Considerations: using the following lines and shapes:
 This kind of project is recommended toward - triangular zigzags
the end of the quarter or semester wherein - concentric shapes
students have already acquired the - alternating directions
prerequisite skills such as mixed-media, - floral and leaf nature pattern
screen printing, weaving, etc.
 Students should already be familiar with the  To apply the patterns in designing an apparel
technique of choice. or personal item of your choice: shirt, bag,
 Other items such as skateboard and laptop umbrella, shoes, hat, etc.
case can be included if the student suggests.  To create a 2D or 3D work showcasing one's
 The lower grades can work on 2D and the favorite attire using a technique of choice:
upper grades can work on 3D (mixed-media). drawing and coloring, tie-dye, printmaking,
The lower grades can also work using 3D cutting, collage, mixed-media, weaving,
media provided that the class is manageable altering or redesigning the actual object, etc.
with enough time, resources, and manpower.  To explain to the class the inspiration of the
design, why they chose that item to be
featured (lower grades), and how the
elements and principles are applied (upper
grades)
- lines and shapes used why choose the
colors
- what elements were repeated to show
patterns
- title of the work and why
Teaching art in the elementary grades is essential for holistic development. Determining
the learning objectives of Art in the early grades should be more focused on developing
character and enjoyment in the process rather than honing fine motor skills or learning about
history. This is the age where fine motor skills develop as well as character, discipline, and
respect. As teachers, we should be more open-minded in accepting and giving criticisms. Let us
learn to be tolerant when students make mistakes. As teachers, we should guide them on how
to learn from their mistakes.
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EXPERIENCE
Ask the following questions in your group then discuss in class.
Person 1 Person 2 Person 3

What were the memorable art
activities that you did when you
were in elementary?
Do you consider them as

teacher- centered or learner
centered?
Explain why you consider that

activity teacher-centered or
learner centered.
If you were given a chance to

have art class again in your
elementary days, which
approach would you prefer and
why?
ASSESS
Using the Venn Diagram, compare and contrast the following:
Learner-centered Teacher-centered
approach approach
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CHALLENGE
As a would-be art teacher, write your own philosophy on the approach you want to
pursue in your art program. Explain your reasons in detail.
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
HARNESS
Read the K to 12 Curriculum Guide for Art and choose one topic. Write a lesson plan
that demonstrates a teacher-directed approach or learner-centered approach and explain in
detail.
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Approach
Topic:
Grade Level:
Competencies:
Activity:
Assessment:
A. Art Education in the Philippines
Learning Outcomes
1. Understand the different considerations in choosing art activities.

2. Explain the importance of considering the student's psychomotor and cognitive ability in
choosing art activities.
3. Give examples of art activities that are appropriate for different student-artist categories.
"Children's voices are amplified through their art, and their expressions
provide windows in the things that matter most to them."
(Douglas and Jaquith 2018)
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Mixed-media paintings done by children four to nine years old from the ArtPlay workshop (2012) by
Teacher Precious. Themes revolve around the relevant experiences of children such as kids' scooter,
butterflies, flowers, cars, horses, etc. Children also discuss works of famous artists and share their insights
during circle time.
THINK
In some schools, teachers are given the option to choose their own art activities as long
as they meet the content and performance standards. Some follow a strict curriculum, and
some give teachers total freedom on what to do but more often than not, art classes are used
to create artworks for events, holidays, and school decorations depending on the season. In
choosing the activity for your lesson, consider the current events and what the students are
learning in other subjects as well. Engaging in a conversation with the students, other teachers,
and even parents can give an idea on what art activities can be relevant or even solve problems
for other teachers.
Types of Art Activities Based on Content and Function
Art and Culture-Based Theme
Some art activities are inspired by the works of other

artists by using the same technique, medium, or subject. It can be
done exactly as how the artist does it, or it can be modified to
different processes and output. In the DBAE approach, the class
50
Picasso-inspired portrait using
different lines and patterns
lOMoARcPSD|44863529
starts with a discussion from a lesson in Art history about famous artists or works from a
cultural community.
Integration in Subject and Content Areas
Art is universal and transdisciplinary. Some art activities

are integrated into other disciplines such as Science, Technology,
Engineering, Arts, and Mathematics (STEAM) education where
students are challenged to create projects and apply their
knowledge and skills to solve problems. Some art activities are
based on stories and other forms of literature, such as illustrating
for a book or making props and costumes for a role-play.
Integrating art and science by

using clay to show the basic
food groups. Photo from Art
Workshop for Teachers by
Teacher Precious
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Yoga Guide: Basic Training (2020) by Rio, 9, graphite on paper. An example of a self- directed
illustration based on child's interests while integrating art (figure drawing showing movement),
concepts in physical education, and communication skills (procedural writing). She made this
instructional illustration for her mom because she read in books that yoga helps with relaxation
and reduces stress. She wanted her mom to follow this yoga guide to improve her wellness in
time of stress.
Holiday and Event Themes
During holidays and special occasions, students are able to connect their work to
relevant experiences through art activities. These are popular means to concretize events such
as making DIY decorations, cards, souvenirs, and gifts in a fun and enjoyable way. Whenever
there is an event, teachers always work with students to come up with artworks for display or
to bring home to set the mood. It is almost impossible to feel the school events without props
and decorations.
Integrating Linggo ng Wika (2017) in hand-lettering class to create Filipino word balloons (common words
and expressions) as classroom decorations
Art as Play
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Art teachers should not forget that even upper elementary students are still children too.
A series of teacher-directed activities can take a toll on students by always trying to cope with
standards and what the school wants that is why art is sometimes perceived as a "tiring subject
that is not for me." Students should be able to have fun in art. For children with special needs,
art class can be a break in their highly structured routine where they can enjoy and be
themselves. One session per quarter of a play-based art activity where the main goal is for
students to have fun in the art process can promote a positive attitude toward art creation and
help develop their creativity and self-expression.
Considerations in Choosing an Art Activity
Teacher's understanding of students and logistical preparations are crucial in conducting

an art class. It is important to make sure that the materials a structure that you are providing
are suited for the learner and present situation Pre-assessment during the first few sessions is
mandatory to get to know the students' level of skill, knowledge, and interests so the teacher
will know if the art activity is age-appropriate, engaging, and would meet the needs of the
students.
In deciding what art activity to choose for a certain class, the teacher should consider
the students' fine motor skills and ability to come up with own ideas Creative children are highly
imaginative and spontaneous. They are able to tel endless stories through their drawings
without any prompt from the teacher. Creative learners can generate new ideas and
suggestions, and provide solutions to problems that were not mentioned by the teacher. They
see a relationship among things, people, places, events including abstract concepts, such as
emotions and desires. Creativity can be equated to talent because it is something that is hard to
teach and does not necessarily develop over time unlike fine motor skills, rather it develops
depending on the nature of the child and the nurturing environment Conservative learners on
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the other hand are those who are always in the safe zone, copying examples, and are
dependent on what the teacher provides. Children with proficient fine motor control are able to
render techniques in an exceptional and skilful manner. This includes mastery in drawing,
painting, sculpting, demonstrating remarkable dexterity, accuracy, and control. Examples are
children who are able to draw detailed buildings, machines, photo-realistic illustrations, and
copy images with high resemblance. Younger children like toddlers have emerging fine motor
control skills, meaning they are still learning how to develop control on how to hold a pen or
crayon. These children are in the scribbling stage of drawing and may have little concept of
what a finished work should look like. Children at this stage are learning through exploring
materials, techniques, and enjoying the art process.
Abstract and Expressionist Art Activities
For kindergarten and students who need extensive

support, abstract expressionist art activities are recommended
because these activities require minimal fine motor skills, but done
right, can still create aesthetically pleasing outcomes. Examples of
these are finger painting, wet-on-wet watercolor abstract painting,
splatter effects, fun and have no definite right or wrong answers.
These activities can be springboards for conversation starters
since children can give meaning to their work even if its non-
representational to begin with.
Painting the background then
using a sponge for stamping
flowers. (Special needs
students’ collaboration, acrylic
on canva)
Impressionist and Expressionist Art Activities
These are suited for children who have a lot of original

ideas, but may lack the fine motor skills to create a well- rendered
representation of what's on their mind. Some are very excited and
spontaneous that they tend to create a "rushed" work, sacrificing
quality and understandability. These works may need a little bit of
explaining or context for the audience to be able to fully
appreciate the meaning and value given by the child. Artworks
from these activities are unique and can also serve as a window
to understand the child's world that may not have been said in Handprint painting of a lobster
riding the bicycle while "hands
words. off" (Alex, 6, watercolor on
paper)
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Tokyo City with all the details

and perspective based only on
his memory, He was able to Realistic Reproduction and Technical Art Activities
draw this independently
without These
erasuresare(Daniel,
for students
10, who demonstrate mastery of fine motor skills involved in art
production.
graphite These students can also be considered artistically talented if they are able to
on paper)
produce quality work with high resemblance to the reference. Examples would be landscape
paintings that use colors that are close to reality, figure drawings with correct proportion,
landscapes that show perspectives, and still life paintings that show accurate lighting and
shadow.
Creative, Imaginative, and Thought-Provoking Art Activities
These are basically the integration of all potential art skills. These are children who are
able to visualize and render their ideas in a skillful manner that is considered by the audience as
well-delivered visual expression. The work may contain symbols that let the artist convey a
message or links to history, science, and other personal interests. The output from these
activities are unique to the creator because it draws from personal experiences, emotions,
thoughts, and wishes. Children who are in this category are creative and skillful and is able to
do any art activity from any category. The goal of the art teacher is to take students to reach
this level.
55

Teaching Visual Arts in The Elementary Grades 1

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Educational Technology I (Ateneo de Davao University)

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A. Art Education in the Philippines

"Those who cannot remember the past

A Short History of Art Education in the Philippines

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Benefits of Art Education

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1. Working in the arts helps learners develop creative problem-solving skills.

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Issues in Philippine Art Education

Problems in Artistic Values

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criticism from family, peers, and ill-equipped teachers, thereby

Materials, Resources, and Workspaces

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students' safety. This is especially important during art activities

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B. The Artist Mindset in the Early Grades

"Nemo dat quod non habet"

A. Inspired by Daily Experiences and Encounters

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This is where careful and deliberate manipulation of the learning environment

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While curiosity is often cited as a characteristic of scientists, it is also an essential part of

Related to curiosity is "open-mindedness, which is the willingness to be exposed to new

Some areas where an open mind is an artistic asset are:

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D. Art as Authentic Self-Expression

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G. Enjoyment in the Process

1. Can comic books be considered "art"? Why or why not?

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Discuss the following with your peers:

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C. The K to 12 Elementary Art Education Curriculum

In this section, we highlight the pertinent features of the conceptual framework,

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Philosophy and Rationale

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As a final point, the philosophy statement in paragraph 4 reads:

Elements, Principles, and Processes of Art Education

Art Elements and Principles Art Processes

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Learning Area Standards

Key Stage Standards for K-3 and 4-6

The learner demonstrates understanding of fundamental processes through performing,

Grade Level Standards for 1-6

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Very quickly, we can take note of a few things:

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o Grade 5: "Through exploration, the learner demonstrates a deeper understanding of

o Grade 6: "Through application, the learner demonstrates understanding of the basic

These observations imply the following: