Iwag sa San Ag: Lantern Photos by Elsed S. Togonon

Cellular Phone photography (Nokia E66)

Call for Submission to the 11th IYAS Creative Writing Workshop

Gnomic Poetry and the Concept of Mono no Aware in Basho's Haiku: A Rada Lecture by Elsed S. Togonon

Matsuo Basho, a Japanese poet well known for his clear and brief haiku, resonates the beauty and at the same time the sadness of nature through his literary works.   Being the predecessor of this form of gnomic poetry, he arrayed the distinct elements as well as the characteristics of haiku.  This is the heart of this lecture discussing Basho’s selected haiku, focusing on the examination of the fusion of the two elements such as heart/mind of the poem and its sincerity and directness.  For Basho, the interweaving of these elements sums up the phrase mono no aware or the perception of the natural poignancy of temporal things.  This idea is illustrated in some of his haiku.

                                                         

 Each one of us has his/her own perception of sadness: a death of a loved one, a sunset at the horizon or the changing of seasons—these are some instances which somehow purge our hearts and lead us to ponder about the ephemerality of life.  Cliché adages have been said on the phenomenon of evanescence, that is, whatever we have right now will eventually soon fade away.  According to Yasunari Kawabata, a Japanese novelist who won the Nobel prize for Literature in 1968, what is truly beautiful is sad because it is temporary.  This pronouncement rings true especially in Japanese literature, specifically in their famous poetic form, the haiku, which is consist of 17 moras in three phrases of 5,7,5 syllables, respectively. 

Matsuo Basho, is known as the first great poet in the history of haiku.  During his lifetime, Bashō was recognized for his works in the collaborative haikai no renga form; today, after centuries of commentary, he is recognized as a master of brief and clear haiku. His poetry is internationally renowned, and within Japan many of his poems are reproduced on monuments and traditional sites (www.wikipedia.com).

Sam Hamill, in his book The Essential Basho, explains the two fundamental principles  underlying Basho’s poetics—kokoru (the heart/mind aspect of the poem) and makoto (sincerity, directness).  The direct sincerity of Basho's writings, seen in his spare yet elegant style, functions as an attempt to go right to the heart of things, to see the relationship between core and surface. But this core of reality is not some distant, abstract essence; it is insight into things as they are (a point also strongly emphasized by Robert Aitken in his book on Basho's haiku, A Zen Wave). This insight is summed up by the phrase mono-no-aware, the perception of the natural poignancy of temporal things. Like the dropping cherry blossoms, we too will wither and die. This insight, crucial to Zen, leads us beyond simple attachment to temporal things, demanding the full experience of the present moment, here and now (http://epc.buffalo.edu).

 Japanese poetry has many of the general functions that poetry has fulfilled in the West.  It is used for messages between lovers (always with beautiful calligraphy), it solaces the warrior, it communicates with gods and spirits, it commemorates or immortalizes the passing phenomena of nature (Anderson ed., 1961).  More so, in order for the haiku to serve its function, it must also juxtapose with the poet’s sensibility.  Basho has concern for the heart of things in his haiku.  Although most of his subject matters were about nature, it still suggested a good deal more than it said, such is illustrated in this poem,

Spring passes

and the birds cry out—tears

in the eyes of fishes

As a single poem these lines are beautifully haunting and evocative, more so because of their ambiguity. Why are the birds crying out? Are these cries of joy or of sorrow? Are they celebrating or lamenting the passing of spring? Is spring even directly related to this crying, or is it simply functioning as contextual background? In either case, the idea of fishes' tears being distinguishable from the water in which they swim is at once amusing and mysterious, engaging that mental twist of koan paradox. But consider this haiku in its prosaic context:

Very early on the twenty-seventh morning of the third moon, under a predawn haze, transparent moon barely visible, Mount Fuji just a shadow, I set out under the cherry blossoms of Ueno and Yanaka. When would I see them again? A few friends had gathered in the night and followed along far enough to see me off from the boat. Getting off at Senju, I felt three thousand miles rushing through my heart, the whole world only a dream. I saw it through farewell tears.

Now we see the haiku as a response to Basho's sorrow at leaving his friends for his pilgrimage. The crying of birds and fish presents a sympathetic fusion of Basho and his world—his sorrow is so great that tears form even in the eyes of fish. This fusion, occuring on many levels, is perhaps the most striking element of Basho's travelogues.

            Also, nature serves the poet by providing a concrete object to draw out his emotions and a setting to intensify them;

On a withered branch

a crow has settled—

autumn nightfall.

            Two shades of darkness are presented here: the small, precise body of the crow against the amorphous darkness of an autumn evening.  Aesthetically, the lines evoke a gloomy scenario.  The sight of withered branch and a crow signifies a concrete representation of a downtrodden emotion which may symbolize the uncertainty of life, and even death.

The great Basho, when told of a poet who had mentioned all of the famous eight views of Lake Omi in a tanka, managed to do the same in a haiku by mentioning the sound of the temple of Mii-dera and then saying that mist hid the other views.  This is intellectual gymnastics.  Since Japanese language is rich in homophone, it is therefore possible to use a common noun which is also a place name which evokes the image of a place where some event, legendary or historical, took place. Thus, the miniature haiku can have, in various ways, suggestions of meanings which increase its profundity.  To reiterate Hamill,

The direct sincerity of Basho's writings, seen in his spare yet elegant style, functions as an attempt to go right to the heart of things, to see the relationship between core and surface. But this core of reality is not some distant, abstract essence; it is insight into things as they are (a point also strongly emphasized by Robert Aitken in his book on Basho's haiku, A Zen Wave).

Again, grief as a pervading emotion, Basho illustrates an experience with a very strong sense of sadness,

Summer grass:

of stalwart warrior’s splendid dreams

the aftermath.

In this poem Basho records that in thinking of the bygone glories of the site; he was moved to tears remembering the fortress where a hero and his retainers were killed.

The heart and the mind and its sincerity and directness serve as   essential condiments in writing a haiku.  The poet must possess natural sensibility in order to see beyond the surface. S/he must be moved by details and must appreciate nature in all its violence and serenity.  This is the role of the poet/writer—to find beauty and capture it into works of literature.  As a classic example, Basho wrote haiku to remind us that everything is temporary. The beauty that surrounds us will eventually fade and wither. 

Thus, Japanese poets like Basho and even the contemporary novelist Kawabata write literary pieces that deal with sadness, specifically the insight termed as mono no aware.  Kawabata believed that “in the Japanese language the word ‘sadness’ is related to the word ‘beauty.’  According to Ueda,

In traditional Japanese aesthetics, “pathos” referred to an emotional impact that emerged when a person was confronted with an immense cosmic power and was sadly made aware of the mutability of human life (Teodoro citing Ueda, 17).

                        To end this lecture, let me cite Basho’s haiku which he wrote when he was old having the premonition of death.  May we be reminded that happiness is still man’s ultimate goal in life.  But as we journey, we learn that in order to achieve that goal, inevitably, we have to encounter sadness.  Basho’s haiku speak of life as a “double-edged sword.”  We find beauty both in sadness and in happiness.  Thus, Basho imparts to us his wisdom through this haiku,

On a journey, ill,

and over fields all withered, dreams

go wandering still.

Humanities and Art: An Introduction

HUMANITIES: What is it?

            •The term Humanities comes from the Latin word, “humanitas”

            •It generally refers to art, literature, music, architecture, dance and the theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized.

         HOW IMPORTANT IS HUMANITIES

 
•The fields of knowledge and study falling under humanities are dedicated to the pursuit of discovering and understanding the nature of man.

•The humanities deal with man as a being of purpose, of values, loves, hates, ideas and sometimes as s seer, or prophet with divine inspiration.

•The humanities aim at educating.

THE ARTS: What is it?

•The word “art” usually refers to the so-called “fine arts” (e.g.pictorial, plastic, and building)– and to the so-called “minor arts” (everyday, useful, applied, and decorative arts)

•The word “art” is derived from arti,  which denotes craftmanship, skill,mastery of form, inventiveness.

•Art serves as a technical and creative record of human needs and achievements.

*Some definitions of art according to philosophers:

•Art is that which brings life in harmony with the beauty of the world.-Plato

•Art is the whole spirit of man.-Ruskin

•Art is the medium by which the artist communicates himself to his fellows.-Charleton  Noyes

•Art is anything made or done by man that affects or moves us so that we see or feel beauty in it.-Collins and Riley

MAJOR AREAS OF ART

            ~Literary Arts

        –are those presented in the written mode and intended to be read.  These include prose and poetry. (e.g. novels, short stories, sonnet, ballad, epic, essay)

           ~Visual Art

                   –are those forms perceived by the eyes.  These include painting, sculpture,  and  architecture 

~Audio Visual Art

      –Are those forms perceived by both ears (audio) and eyes (visual).  

      –They are called performing arts in as much as the artists render a performance in front of an audience.

FUNCTIONS OF THE ART 

•Personal/Individual Function

•Social Function

•Economic Function

•Political Function

•Historical Function

•Cultural Function

•Religious Function

•Physical Function

•Aesthetic Function

source: Menoy, Jesus Z. Introduction to the Humanities A Holistic Approach.
          Mandaluyong City: Books Atbp. Publishing Corp., 2009. 

photos: http://www.lunet.edu/lib/humanities.jpg
    http://give.literary-arts.org/wp-content/uploads/2009/11  /IMG_9666_3.jpg

 

Watch USA Little Theater's "Panglakaton Blues 3"

 

Students who are taking up Art App and PhilLit under Mr. Elsed S. Togonon are required to watch the show. Attendance will be checked.  Reaction papers are expected to be submitted next meeting.  See you. ( Please refer to the poster for the show details.  )

"What Is Art?" (excerpts) by Leo Tolstoy

CHAPTER FIVE (excerpts). . .

#1. In order correctly to define art, it is necessary, first of all, to cease to consider it as a means to pleasure and to consider it as one of the conditions of human life. Viewing it in this way we cannot fail to observe that art is one of the means of intercourse between man and man.
#2. Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced, or is producing, the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression.
#3. Speech, transmitting the thoughts and experiences of men, serves as a means of union among them, and art acts in a similar manner. The peculiarity of this latter means of intercourse, distinguishing it from intercourse by means of words, consists in this, that whereas by words a man transmits his thoughts to another, by means of art he transmits his feelings.
#4. The activity of art is based on the fact that a man, receiving through his sense of hearing or sight another man's expression of feeling, is capable of experiencing the emotion which moved the man who expressed it. To take the simplest example; one man laughs, and another who hears becomes merry; or a man weeps, and another who hears feels sorrow. A man is excited or irritated, and another man seeing him comes to a similar state of mind. By his movements or by the sounds of his voice, a man expresses courage and determination or sadness and calmness, and this state of mind passes on to others. A man suffers, expressing his sufferings by groans and spasms, and this suffering transmits itself to other people; a man expresses his feeling of admiration, devotion, fear, respect, or love to certain objects, persons, or phenomena, and others are infected by the same feelings of admiration, devotion, fear, respect, or love to the same objects, persons, and phenomena.
#5. And it is upon this capacity of man to receive another man's expression of feeling and experience those feelings himself, that the activity of art is based.
#6. If a man infects another or others directly, immediately, by his appearance or by the sounds he gives vent to at the very time he experiences the feeling; if he causes another man to yawn when he himself cannot help yawning, or to laugh or cry when he himself is obliged to laugh or cry, or to suffer when he himself is suffering - that does not amount to art.
#7. Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications. To take the simplest example: a boy, having experienced, let us say, fear on encountering a wolf, relates that encounter; and, in order to evoke in others the feeling he has experienced, describes himself, his condition before the encounter, the surroundings, the woods, his own lightheartedness, and then the wolf's appearance, its movements, the distance between himself and the wolf, etc. All this, if only the boy, when telling the story, again experiences the feelings he had lived through and infects the hearers and compels them to feel what the narrator had experienced is art. If even the boy had not seen a wolf but had frequently been afraid of one, and if, wishing to evoke in others the fear he had felt, he invented an encounter with a wolf and recounted it so as to make his hearers share the feelings he experienced when he feared the world, that also would be art. And just in the same way it is art if a man, having experienced either the fear of suffering or the attraction of enjoyment (whether in reality or in imagination) expresses these feelings on canvas or in marble so that others are infected by them. And it is also art if a man feels or imagines to himself feelings of delight, gladness, sorrow, despair, courage, or despondency and the transition from one to another of these feelings, and expresses these feelings by sounds so that the hearers are infected by them and experience them as they were experienced by the composer.
#8. The feelings with which the artist infects others may be most various - very strong or very weak, very important or very insignificant, very bad or very good: feelings of love for one's own country, self-devotion and submission to fate or to God expressed in a drama, raptures of lovers described in a novel, feelings of voluptuousness expressed in a picture, courage expressed in a triumphal march, merriment evoked by a dance, humor evoked by a funny story, the feeling of quietness transmitted by an evening landscape or by a lullaby, or the feeling of admiration evoked by a beautiful arabesque - it is all art.
#9. If only the spectators or auditors are infected by the feelings which the author has felt, it is art.
#10. To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling - this is the activity of art.
#11. Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them.
#12. Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man's emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity.
#13. As, thanks to man's capacity to express thoughts by words, every man may know all that has been done for him in the realms of thought by all humanity before his day, and can in the present, thanks to this capacity to understand the thoughts of others, become a sharer in their activity and can himself hand on to his contemporaries and descendants the thoughts he has assimilated from others, as well as those which have arisen within himself; so, thanks to man's capacity to be infected with the feelings of others by means of art, all that is being lived through by his contemporaries is accessible to him, as well as the feelings experienced by men thousands of years ago, and he has also the possibility of transmitting his own feelings to others.
#14. If people lacked this capacity to receive the thoughts conceived by the men who preceded them and to pass on to others their own thoughts, men would be like wild beasts, or like Kaspar Houser.
#15. And if men lacked this other capacity of being infected by art, people might be almost more savage still, and, above all, more separated from, and more hostile to, one another.
#16. And therefore the activity of art is a most important one, as important as the activity of speech itself and as generally diffused.
#17. We are accustomed to understand art to be only what we hear and see in theaters, concerts, and exhibitions, together with buildings, statues, poems, novels. . . . But all this is but the smallest part of the art by which we communicate with each other in life. All human life is filled with works of art of every kind - from cradlesong, jest, mimicry, the ornamentation of houses, dress, and utensils, up to church services, buildings, monuments, and triumphal processions. It is all artistic activity. So that by art, in the limited sense of the word, we do not mean all human activity transmitting feelings, but only that part which we for some reason select from it and to which we attach special importance.
#18. This special importance has always been given by all men to that part of this activity which transmits feelings flowing from their religious perception, and this small part of art they have specifically called art, attaching to it the full meaning of the word.
#19. That was how man of old -- Socrates, Plato, and Aristotle - looked on art. Thus did the Hebrew prophets and the ancient Christians regard art; thus it was, and still is, understood by the Mohammedans, and thus it still is understood by religious folk among our own peasantry.
#20. Some teachers of mankind - as Plato in his Republic and people such as the primitive Christians, the strict Mohammedans, and the Buddhists -- have gone so far as to repudiate all art.
#21. People viewing art in this way (in contradiction to the prevalent view of today which regards any art as good if only it affords pleasure) considered, and consider, that art (as contrasted with speech, which need not be listened to) is so highly dangerous in its power to infect people against their wills that mankind will lose far less by banishing all art than by tolerating each and every art.
#22. Evidently such people were wrong in repudiating all art, for they denied that which cannot be denied - one of the indispensable means of communication, without which mankind could not exist. But not less wrong are the people of civilized European society of our class and day in favoring any art if it but serves beauty, i.e., gives people pleasure.
#23. Formerly people feared lest among the works of art there might chance to be some causing corruption, and they prohibited art altogether. Now they only fear lest they should be deprived of any enjoyment art can afford, and patronize any art. And I think the last error is much grosser than the first and that its consequences are far more harmful.

 CHAPTER FIFTEEN #24. Art, in our society, has been so perverted that not only has bad art come to be considered good, but even the very perception of what art really is has been lost. In order to be able to speak about the art of our society, it is, therefore, first of all necessary to distinguish art from counterfeit art.
#25. There is one indubitable indication distinguishing real art from its counterfeit, namely, the infectiousness of art. If a man, without exercising effort and without altering his standpoint on reading, hearing, or seeing another man's work, experiences a mental condition which unites him with that man and with other people who also partake of that work of art, then the object evoking that condition is a work of art. And however poetical, realistic, effectful, or interesting a work may be, it is not a work of art if it does not evoke that feeling (quite distinct from all other feelings) of joy and of spiritual union with another (the author) and with others (those who are also infected by it).
#26. It is true that this indication is an internal one, and that there are people who have forgotten what the action of real art is, who expect something else form art (in our society the great majority are in this state), and that therefore such people may mistake for this aesthetic feeling the feeling of diversion and a certain excitement which they receive from counterfeits of art. But though it is impossible to undeceive these people, just as it is impossible to convince a man suffering from "Daltonism" [a type of color blindness] that green is not red, yet, for all that, this indication remains perfectly definite to those whose feeling for art is neither perverted nor atrophied, and it clearly distinguishes the feeling produced by art from all other feelings.
#27. The chief peculiarity of this feeling is that the receiver of a true artistic impression is so united to the artist that he feels as if the work were his own and not someone else's - as if what it expresses were just what he had long been wishing to express. A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist - not that alone, but also between himself and all whose minds receive this work of art. In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art.
#28. If a man is infected by the author's condition of soul, if he feels this emotion and this union with others, then the object which has effected this is art; but if there be no such infection, if there be not this union with the author and with others who are moved by the same work - then it is not art. And not only is infection a sure sign of art, but the degree of infectiousness is also the sole measure of excellence in art.
#29. The stronger the infection, the better is the art as art, speaking now apart from its subject matter, i.e., not considering the quality of the feelings it transmits.
#30. And the degree of the infectiousness of art depends on three conditions:

1. On the greater or lesser individuality of the feeling transmitted;
2. on the greater or lesser clearness with which the feeling is transmitted;
3. on the sincerity of the artist, i.e., on the greater or lesser force with which the artist himself feels the emotion he transmits.

#31. The more individual the feeling transmitted the more strongly does it act on the receiver; the more individual the state of soul into which he is transferred, the more pleasure does the receiver obtain, and therefore the more readily and strongly does he join in it.
#32. The clearness of expression assists infection because the receiver, who mingles in consciousness with the author, is the better satisfied the more clearly the feeling is transmitted, which, as it seems to him, he has long known and felt, and for which he has only now found expression.
#33. But most of all is the degree of infectiousness of art increased by the degree of sincerity in the artist. As soon as the spectator, hearer, or reader feels that the artist is infected by his own production, and writes, sings, or plays for himself, and not merely to act on others, this mental condition of the artist infects the receiver; and contrariwise, as soon as the spectator, reader, or hearer feels that the author is not writing, singing, or playing for his own satisfaction - does not himself feel what he wishes to express - but is doing it for him, the receiver, a resistance immediately springs up, and the most individual and the newest feelings and the cleverest technique not only fail to produce any infection but actually repel.
#34. I have mentioned three conditions of contagiousness in art, but they may be all summed up into one, the last, sincerity, i.e., that the artist should be impelled by an inner need to express his feeling. That condition includes the first; for if the artist is sincere he will express the feeling as he experienced it. And as each man is different from everyone else, his feeling will be individual for everyone else; and the more individual it is - the more the artist has drawn it from the depths of his nature - the more sympathetic and sincere will it be. And this same sincerity will impel the artist to find a clear expression of the feeling which he wishes to transmit.
#35. Therefore this third condition - sincerity - is the most important of the three. It is always complied with in peasant art, and this explains why such art always acts so powerfully; but it is a condition almost entirely absent from our upper-class art, which is continually produced by artists actuated by personal aims of covetousness or vanity.
#36. Such are the three conditions which divide art from its counterfeits, and which also decide the quality of every work of art apart from its subject matter.
#37. The absence of any one of these conditions excludes a work form the category of art and relegates it to that of art's counterfeits. If the work does not transmit the artist's peculiarity of feeling and is therefore not individual, if it is unintelligibly expressed, or if it has not proceeded from the author's inner need for expression - it is not a work of art. If all these conditions are present, even in the smallest degree, then the work, even if a weak one, is yet a work of art.
#38. The presence in various degrees of these three conditions - individuality, clearness, and sincerity - decides the merit of a work of art as art, apart from subject matter. All works of art take rank of merit according to the degree in which they fulfill the first, the second, and the third of these conditions. In one the individuality of the feeling transmitted may predominate; in another, clearness of expression; in a third, sincerity; while a fourth may have sincerity and individuality but be deficient in clearness; a fifth, individuality and clearness but less sincerity; and so forth, in all possible degrees and combinations.
#39. Thus is art divided from that which is not art, and thus is the quality of art as art decided, independently of its subject matter, i.e., apart from whether the feelings it transmits are good or bad.
#40. But how are we to define good and bad art with reference to its subject matter?

Source: http://www.csulb.edu/~jvancamp/361r14.html

Course Outline

COURSE CODE: HUMA101

COURSE TITLE: ART APPRECIATION

COURSE DESCRIPTION: The course is a study and appreciation of art and its development through the various periods and movements of man’s existence. The course brings the student to a better understanding of art today, its past influences and its current significance.

By the end of the course, the students shall have:

1.       Developed a critical vocabulary and skills for describing, analyzing, and interpreting works of art.

2.       Described as well as critique subject matter, art elements, styles of art, and technique.

3.       Recognized major works by major figures of art history.

4.       Demonstrated the Augustinian values of pursuit of wisdom, love of order, and common good.

GRADING SYSTEM: Periodic Examination- 50%

                                        Class Standing-50%

                                                                Quizzes, Class Activities, Attendance

                                                                Group Project (30% of the Class Standing for the Final Term)

                                                                                (n.b. All assignments and written outputs should be submitted through e-mail (huma101artapp@gmail.com).  Assignments/projects not submitted on time will not be considered.)

 REFERENCES:

Jacobus, Lee A. and F. David Martin. Humanities through Arts. New York: McGraw-Hill, 2004.

Menoy, Jesus, Z. Introduction to the Humanities: A Holistic Approach. Mandaluyong: Books Atbp. Publishing Corp., 2009.

Reyes, Feliciana, A., ed. Humanites for College Students. Manila: Katha Publishing Company, 2004.

COURSE OUTLINE

1.       Introduction

1.1.  Humanities and Arts

1.2.  Functions of Art

1.3.  Art Style and Factors Affecting Style

1.4.  Genres of Art

2.       Literary Arts

2.1.  Definition

2.2.  Elements

2.3.  Literary Types

2.4.  Assigned Reading Materials

2.4.1.         On Seeing a 100% Perfect Girl by Haruki Murakami (short story)

2.4.2.         Ang Baboy by John Iremil E. Teodoro (poetry)

2.4.3.         Sonnet XVIII by William Shakespeare (poetry)

2.4.4.         Romeo and Juliet by William Shakespeare (drama)

2.4.5.         Works of notable foreign, Filipino, and local Writers

2.5.  Film Viewing

2.5.1.         Dead Poets Society

2.5.2.         Romeo and Juliet (film clip)

2.6.  Theater Experience

2.6.1.         Pagpanglakaton Blues 3

2.6.2.         Output

2.6.2.1.    Poetry Writing

2.6.2.2.    Scene Study from a play

2.6.2.3.    Analysis of a short story/novel

3.       Visual Arts

3.1.  Painting

3.1.1.         Definition

3.1.2.         Mediums

3.1.3.         Subjects

3.1.4.         Tools

3.1.5.         History

3.1.6.         Notable Artists

3.2.  Sculpture

3.2.1.         Definition

3.2.2.         Kinds

3.2.3.         Mediums

3.2.4.         Subjects

3.2.5.         History

3.2.6.         Notable Artists

3.3.  Output

3.3.1.         Doodle Art

3.3.2.         Photography (illustrating elements and principles of design)

4.       Architecture

4.1.  Definition

4.2.  Kinds of Architectural Construction

4.3.  Mediums

4.4.  History

4.5.  Notable Artists

4.6.  Output

4.6.1.         Designing one’s dream house

5.       The Combined Arts (Dance, Music, Film)

5.1.  Music

5.1.1.         Definition

5.1.2.         Elements

5.1.3.         Kinds

5.1.4.         Medium

5.1.5.         History

5.1.6.         Notable Artists

5.1.7.         Film Viewing

5.1.7.1.    August Rush

5.2.  Dance

5.2.1.         Definition

5.2.2.         Elements

5.2.3.         Kinds

5.2.4.         History

5.2.5.         Notable Artists

5.3.  Film

5.3.1.         Definition

5.3.2.         Origins

5.3.3.         Elements

5.3.4.         Fundamental Stages of Film Production

5.3.5.         Kinds of Film

5.3.6.         Film Viewing

5.3.6.1.    Cinema Paradiso

5.3.6.2.    Ded na si Lolo

5.3.6.3.    Works of notable filmmakers and other genres (to be decided)

5.3.7.         Output

5.3.7.1.    Song Composition

5.3.7.2.    Making a short film