8

MAPEH (Arts)
Learning Activity Sheets
Quarter 3: Week 4

Division of Angeles City

 MAPEH – ARTS – WEEK 4 – COMPETENCY 7 & 8
SOUTH, CENTRAL, AND WEST ASIAN ARTS

Name: _________________________________ Grade level: __________________

Section: _________________________________ Date: ____________________

WHAT TO KNOW (ALAMIN MO)

MELCs: Creates arts and crafts that can be locally assembled with local
materials, guided by local traditional techniques (e.g., Ghonghdis, Marbling Technique,
etc.) (A8PR-IIIc-e-1)
Derives elements from traditions/history of a community for one’s artwork
(A8PR IIIf-3)

Art plays significant role in the daily life and activities of the people of India, Central
Asia and West Asia. Unique lines, forms, shapes, colors, motifs and design are manifested in
the art of India, Central Asia and West Asia.
Resourcefulness and clarity are keys to successful art activities. The art of Indian,
Central Asia and West Asia reflects the dominant attitudes toward important aspects of life of
the period which produced them as a mirror of cultural history.

LET US PRACTICE (PAGSANAYAN MO)

Activity No. 1 Rangoli Art

Rangoli is an art form, originating in the Indian subcontinent, in which patterns are
created on the floor or the ground using materials such as colored rice, colored sand, quartz
powder or flower petals
Example of Rangoli Designs:

After learning what is Rangoli, you will now experience how to design one. Instead of
using colored rice, colored sand, quartz powder or flower petals we will be using cut
magazines, pieces of papers, beads, or any colored materials available at home. Be creative as
you can! You can also browse in the internet to see more examples.

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 Materials Needed Procedures
✓ glue 1. sketch your design lightly in pencil on the
✓ plain paper plate paper plate
✓ pencil 2. when your happy with your design, finalize
✓ cut magazines, colored papers, the outline with heavier lines
beads, or any colored materials 3. use glue to outline your design
available at home 4. fill in your design with cut magazines,
colored papers, beads, or any colored materials
available at home according to your choice and
color combination.
5. this is the most interesting step, and usually
the most fun. Apply different design patterns:
repeated, alternating, radial pattern and border
pattern
6. let it dry then you’re done!

Rubrics

Category Excellent Good Fair Poor

5 points 4 points 3 points 2 points
Following Followed Followed most Followed some Did not follow
Directions directions of the of the directions the directions
correctly Directions
Creativity and Student’s Student’s Student’s Student’s
workmanship output is very output is good output is fair output is doll
creative and and tidy and has few with lots of
tidy errors errors
Pattern Pattern of Pattern of Pattern of There is no
South, Central South, Central South, Central visible pattern
and West Asian and West Asian and West Asian
culture is well- Culture is culture is
defined and visible but not somewhat
used from clearly defined visible but not
beginning to continues
end

TOTAL POINTS DESCRIPTIVE GRADE EQUIVELENT

11-15 Excellent 95%
8-9 Good 85%
6 Needs Improvement 75%

Activity No. 2 Diya Mobile

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 Let’s imagine that we are from India and we are about to take part in the Diwali
celebration. The place of celebration is fully lighted with Diya. Everyone is asked to hold a
Diya to make the place look festive and brighter. Here is how to make the Diya Mobile

You will need:

✓ Yellow paper
✓ Any paper in a bright color
✓ Gold cord/ yarn or any cord available at
home
✓ Gold glitter glue
Instructions:
1. Cut out a flame from yellow paper and a
diya shape from your other paper.
2. Make a hole at the bottom of the flame
and another in the middle of the diya. Tie
them together with the gold cord.
3. Make a hole at the top of the flame and tie
on some gold cord to hang.
4. With glitter glue or a gold pen, write
happy on the flame and diwali on the diya.
Hang to catch the breeze and the light!
Rubrics

Category Excellent Good Fair Poor

Following Followed Followed most Followed some Did not follow
Directions directions of the of the directions the directions
correctly Directions
Creativity and Student’s Student’s Student’s Student’s
workmanship output is very output is good output is fair output is doll
creative and and tidy and has few with lots of
tidy errors errors
Pattern Pattern of Pattern of Pattern of There is no
South, Central South, Central South, Central visible pattern
and West and West Asian and West Asian
Asian culture Culture is culture is
is well-defined visible but not somewhat
and used from clearly defined visible but not
beginning to continues
end

TOTAL POINTS DESCRIPTIVE GRADE EQUIVELENT

11-15 Excellent 95%
8-9 Good 85%
6 Needs Improvement 75%

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 Activity No 3: Candle Sculpture
West Asia is rich in cultural heritage. This is clearly evident in the variety and quality
of regional arts and crafts and one of their typical forms from the region include carving and
now we will try it with the use of candle.

Materials Needed Procedures

✓ old newspaper/ paper 1. Spread the old newspaper to protect
✓ candle-2” in diameter your work area
✓ sketch of your chose design 2. Sketch your chosen design on the
✓ black permanent marker candle using a pencil. Use geometric
✓ pencil shapes and patterns like scrollwork
✓ nail pusher and curved lines
3. With the nail pusher, crave the
design on the candle
4. Highlight the design with the use of
a black permanent marker

Rubrics
Category Excellent Good Fair Poor
Following Followed Followed most Followed some Did not follow
Directions directions of the of the directions the directions
correctly Directions
Creativity and Student’s Student’s Student’s Student’s
workmanship output is very output is good output is fair output is doll
creative and and tidy and has few with lots of
tidy errors errors
Pattern Pattern of Pattern of Pattern of There is no
South, Central South, Central South, Central visible pattern
and West and West Asian and West Asian
Asian culture Culture is culture is
is well-defined visible but not somewhat
and used from clearly defined visible but not
beginning to continues
end

TOTAL POINTS DESCRIPTIVE GRADE EQUIVELENT

11-15 Excellent 95%

8-9 Good 85%

6 Needs Improvement 75%

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 Reflection
Check the appropriate box that corresponds to your experiences
SELF REFLECTION CHECKLIST
YES SOMETIMES NO
1. I followed all the instructions

2. I thought carefully what I wanted to make

3. I took care of my tools and materials

4. I tried my best

5. I am proud of my outputs

6. I helped to clean up

7. I enjoyed all the activities

8. I appreciate the arts of South, Central and West
Asian culture
9. I learned the meaning and value of Rangoli

10. I appreciate Diwali

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 MAPEH – ARTS – WEEK 4 – COMPETENCY 9
ARTS OF SOUTH, WEST AND CENTRAL ASIA
(Arts and Crafts)

Name: _________________________________ Grade Level: ______________

Section: _________________________________ Date : ____________________

WHAT TO KNOW (ALAMIN MO)

MELCS: Shows the relationship of the development of crafts in specific countries in
South Asia, West Asia, and Central Asia, according to functionality, traditional specialized
expertise, and availability of resources (A8PR-IIIh-4)

The countries from South, West, and Central part of Asia have an impact to our today’s
arts and crafts. The countries from Asia is well known for its ritual bronzes, beautiful ceramics, textiles,
sculptures, poetic painted landscapes, extraordinary temples, shrine, pagodas and other architectural
forms that will shows the relationship of the development of crafts in specific countries in South Asia,
West Asia, and Central Asia, according to functionality, traditional specialized expertise, and
availability of resources.

LET US PRACTICE (PAGSANAYAN MO)

Activity 1. What is my country?

Direction: Identify the country of the picture posted below, and write some description about it. Write
your answer inside the table.

Arts and crafts Country Description

Taj Mahal

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 2. Rangoli

3. Truck Art

4. Carpet Weaving

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 LET US REMEMBER (TANDAAN MO)

Activity 2 and 3: Diwali Lamp making

Diwali lamp is one of the famous arts and crafts of India that being used in celebration of
Festival of lights which is a religious observance. It is a very exciting and colorful holiday, where homes
are cleaned to welcome the New Year and windows are opened so that the Hindu goddess of wealth,
Lakshmi, can enter. Hindus believed that she cannot enter a house which is not lit up, so every household
burns special Diwali clay lamps (diyas) to light the way for the goddess, which is why the holiday is
also known as the 'Festival of Lights'.
A. For this activity, we will try to create our own Diwali lamp that made of paper.
So, let’s try it! Maybe it will also attract the goddess of wealth.
Materials needed: 2 short/long/A4 size construction paper, Pencil. Washi tape/
Lace/Sequence, Glue. Scissor and Ruler
Procedure:

Fold the paper in half lengthwise.

Cut the paper. You may use ruler and pencil to draw a
line at least half to one inch in thickness that will
serve as your pattern in cutting the paper in order to
make strips. Cut along the folded edge, but not all the
way to the end (save at least half or 1 inch) and make
a slits

The number of strips will completely change the look

of your lantern.

Make a tube. Take the two ends of the paper and

wrap them around to make a round tube shape.
Use a glue or clear tape to stick it together.

Tape or glue the top and bottom edge together.

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 Make a Handle. You may also use different
colour for the handle of your lantern.

Cut the paper. It depends to your taste on

how long and the thickness it would be.

Then attach it into the Lantern.

Tadaaaa! You’re done to your very own

Diwali Lamp.
You may also use Washi tape, sequence,
or other colour of paper to design your
lamp. Let your creativity flows.
Enjoy the finished product. You can put a
candle inside (tea candle), hang it from the
ceiling or used it as a centerpiece.

Criteria: You will be grade according to the following criteria

Cleanliness and neatness of the Diwali lamp - 20 points
Follows instruction - 50points
Creativity and Design - 30points
TOTAL 100 points

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 LET US APPRECIATE (ISAPUSO MO)
B. Question and Answer:

Direction: Answer the following question based on the Art Activity. Write your answer
on the space provided.

1. How can you see the relationship of the Diwali Lamp to the other forms of arts and
crafts of the other country in Asia?
_____________________________________________________________________
_____________________________________________________________________
_______________________________________________________________.

2. Is Diwali Lamp is similar to the Philipines “Parol”? Why?

_____________________________________________________________________
_____________________________________________________________________
_______________________________________________________________

3. Is the arts and crafts from different countries in Asia has a relationship when it comes
to the development of our arts and crafts now a days? Why?
_____________________________________________________________________
_____________________________________________________________________
______________________________________________________________

REFLECTION: 3-2-1
Direction: Write your answer on the space provided.

Three facts I Learned

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Two questions I still have

______________________________________________________________________________

______________________________________________________________________________

One that you enjoy the most

_____________________________________________________________________________

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 MAPEH – ARTS – WEEK 4 – COMPETENCY 10 & 11
SOUTH, CENTRAL AND WEST ASIA

Name: _________________________________ Grade Level: ______________

Section: _________________________________ Date : ____________________

WHAT TO KNOW (ALAMIN MO)

MELCs: Shows the commonalities and differences of the cultures of the South Asian,
West Asian, and Central Asian countries in relation to Philippine culture (A8PR-IIIf-3)
Participates in an exhibit using completed South-West-Central Asian-inspired
crafts in an organized manner A8PR-IIIh-4

How the visual art was produced and can be classified into specific periods, each
reflecting religious, political and cultural developments
How it intertwines with the enriching history, religions, and philosophies of the
subcontinent How strong sense of design can be observed in their modern as well as in their
traditional forms.
How they exhibit ornate, very intricate, and colorful motifs where a voluptuous
feeling is given unusually free expression.
What are the five independent republics, that comprises Central Asia.
The Middle East is a region that encompasses Western Asia and all or part of North Africa

The relation of the various arts to each other is very close in South Asia, where
proficiency in several arts is necessary for specialization in any one. Thus, it is believed that
without a good knowledge of dance there can be no proficiency in sculpture, for dance,
like painting or sculpture, is a depiction of all the world. For its rhythmic movements and
exposition of emotion, dance also requires musical accompaniments; hence, knowledge
of musical rhythm is essential. For the stirring of emotion either in music or in dance,

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knowledge of literature and rhetoric is believed to be necessary; the flavour (rasa) to be
expressed in music, dance, sculpture, or painting requires a literary background. Thus all the
arts are closely linked together.

The arts were cultivated in South Asia not only as a noble pastime but also in a spirit
of dedication, as an offering to a god. Passages in literature refer to princes studying works of
art for possible defects. One inscription that mentions the name of the sutra dhāra (“architect”)
of the 8th-century Mallikārjuna temple at Pattadakal epitomizes the accomplishments and
ideals, in both theory and practice, of the artist.

Artists traditionally have enjoyed a high position in South Asian societies. Poets,
musicians, and dancers held honored seats in the royal court. An inscription mentions the
appreciation bestowed by RājendraCōḻa on a talented dancer, and the architect of the temple at
Tiruvoṟṟiyūr, who was also patronized by Rājendra, was eulogized for his encyclopedic
knowledge of architecture and art. Nonetheless, the folk arts were closely linked with the elite
arts. Tribal group dances, for example, shared common elements with classical art, dance, and
music. Among the artistic traditions of the Indian subcontinent, sculpture in the round (citra)
is considered the highest artistic expression of form, and sculpture in relief (ardhacitra) is next
in importance. Painting (citrābhāsa, literally “the semblance of sculpture”) ranks third. Feeling
for volume was so great that the effect of chiaroscuro (i.e., use of light and shade to indicate
modelling) was considered very important in painting; a passage from a drama of the 5th-
century poet Kālidāsa describes how the eye tumbles over the heights and depths suggested in
the modelling of a painting. A classical text on art, Citrasūtra enumerates noteworthy factors
in paintings: the line sketch, firmly and gracefully drawn, is considered the highest element by
the masters; shading and depiction of modelling are valued by others; the decorative element
appeals to feminine taste; and the splendour of colour appeals to common taste. The use of a
minimum of drawing to produce the maximum effect in suggesting form is considered most
admirable.

Portraits play an important role in the visual arts of South Asia, and there are many
literary references to the effective depiction of portraits both in painting and in sculpture. A
6th-century text, the Viṣṇudharmottara, classifies portraiture into natural, lyrical,
sophisticated, and mixed, and men and women are classified into types by varieties of hair—
long and fine, curling to right, wavy, straight and flowing, curled and abundant; similarly, eyes
may be bow-shaped, of the hue of the blue lotus, fishlike, lotus-petal-like, or globular. Artistic
stances are enumerated, and principles of foreshortening are explained. Paintings or sculptures
were believed to take after their creators, even as a poem reflects the poet.

Although South Asia has continually been subjected to strong outside influences, it has
always incorporated them into native forms, resulting not in imitation but in a new synthesis.
This may be seen even in the art of the Gandhāra region of Pakistan, which in the 4th
century BC was immersed in Greco-Roman tradition. In the sculpture of this period Indian
themes and modes have softened the Western style. Foreign influence is evident after the
invasion of the Kushāns in the 1st century AD, but the native element predominated and

13 – MAPEH Arts Gr 8 Week 4

overwhelmed the foreign influence. During the Mughal period, from the 16th century, when
Muslims from Central Asia reigned in South Asia, the blend of Iranian and Indian elements
produced a predominantly Indian school that spread throughout the region, making it a
unified cultural area under imperial rule. The influence of Islāmic art was enhanced by the
second Mughal emperor, Humāyūn, who imported painters from the court of the Shāh of Persia
and began a tradition that blended Indian and Persian elements to produce an efflorescence of
painting and architecture.

Art in all these regions reflects a system of government, a set of moral and ethical
attitudes, and social patterns. The desire of kings to serve the people and to take care of them
almost as offspring is evident as early as the 3rd century BC. The ideal of the king as the
unrivalled bowman, the unifier, the tall and stately noble spirit, the sacrificer for the welfare of
the subjects, and the hero of his people (who conceive of him on a stately elephant) is
comprehensively illustrated in a magnificent series of coins from the Gupta Empire of North
India of the 4th–6th centuries. The concepts of righteous conquest and righteous warfare are
illustrated in sculpture. The long series of sculptures illustrating the history of the South Indian
Pallava dynasty of the 4th–9th centuries gives an excellent picture of the various activities of
government—such as war and conquests, symbolic horse sacrifices, the king’s council,
diplomatic receptions, peace negotiations, the building of temples, appreciation of the fine arts
(including dance and music), and the coronation of kings—all clearly demonstrating what an
orderly government meant to the people. Similarly, moral attitudes are illustrated in sculptures
that lay stress on dharma—customs or laws governing duty. The doctrine of ahiṃsā, or
noninjury to others, is often conceived symbolically as a deer, and the ideal of a holy place is
represented as a place where the deer roams freely. The joy in giving and renunciation is clearly
indicated in art. Sculptures illustrate simple and effective stories, as from the Pañca-tantra,
one of the oldest books of fables in the world. The spirit of devotion, faith, and respect for
moral standards that has throughout the centuries pervaded the subcontinent’s social structure
is continuously represented in South Asian painting and sculpture.

The culture of the Philippines is a combination of cultures of the East and West.
Filipino identity was created primarily as a result of pre-colonial cultures, colonial influences
and foreign traders intermixing and gradually evolving together. In pre-colonial times, the
Philippines was a divided set of nations, islands and tribes being ruled by their own kings,
chieftains, lakans, rajahs, datus and sultans. Every nation has its own identity and some are
even part of a larger empire outside of what is now the Philippines. Manila, for example, was
once part of the Islamic Sultanate of Brunei, and the Sulu Archipelago was also part of the
Hindu Majapahit. The advent of colonial rule in the islands marked the beginning of the
Philippines as an entity, a collection of Southeast Asian countries united under Spanish Empire.

Early pottery has been found in the form of mostly anthropomorphic earthenware jars
dating from c. 5 BC to 225 AD. Early Philippine painting can be found in red slip (clay mixed
with water) designs embellished on the ritual pottery of the Philippines such as the
acclaimed Manunggul Jar. Evidence of Philippine pottery-making dated as early as 6000 BC
has been found in Sanga-Sanga Cave, Sulu and Cagayan's Laurente Cave. It has been proven

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that by 5000 BC, the making of pottery was practiced throughout the archipelago. Early
Austronesian peoples, especially in the Philippines, started making pottery before their
Cambodian neighbors, and at about the same time as the Thais and Laotians as part of what
appears to be a widespread Ice Age development of pottery technology.
Further evidence of painting is manifest in the tattoo tradition of early Filipinos, whom
the Portuguese explorer referred to as Pintados or the 'Painted People' of the Visayas. Various
designs referencing flora and fauna with heavenly bodies decorate their bodies in various
colored pigmentation. Perhaps, some of the most elaborate painting done by early Filipinos
that survive to the present day can be manifested among the arts and architecture of
the Maranaos who are well known for the Nāga dragons and the Sarimanok carved and painted
in the beautiful Panolong of their Torogan or King's House.
Filipinos began creating paintings in the European tradition during 17th-century
Spanish period. The earliest of these paintings were Church frescoes, religious imagery from
Biblical sources, as well as engravings, sculptures and lithographs featuring Christian icons
and European nobility. Most of the paintings and sculptures between the 19th and 20th
centuries produced a mixture of religious, political, and landscape art works, with qualities of
sweetness, dark, and light.

The kut-kut art from Samar.

The Itneg people are known for their
intricate woven fabrics. The binakol is a blanket
which features designs that incorporate optical
illusions.Other parts of Highlands in the Cordillera
Region or in local term " KaIgorotan" displays their
art in tattoing, weaving bags like the "sangi" a
traditional backpack and carving woods. Woven
fabrics of the Ga'dang people usually have bright red
tones. Their weaving can also be identified by beaded
ornamentation. Other people’s such as
the Ilongot make jewelry from pearl, red hornbill
beaks, plants, and metals. Some indigenous materials
are also used as a medium in different kinds of art works especially in painting by Elito Circa,
a folk artist of Pantabangan and a pioneer for using indigenous materials, natural raw materials
including human blood. Many Filipino painters were influenced by this and started using
materials such as extract from onion, tomato, tuba, coffee, rust, molasses and other materials
available anywhere as paint. The Lumad peoples of Mindanao such as the B'laan, Mandaya,
Mansaka and T'boli are skilled in the art of dyeing abaca fiber. Abaca is a plant closely related
to bananas, and its leaves are used to make fiber known as Manila hemp. The fiber is dyed by
a method called ikat. Ikat fiber are woven into cloth with geometric patterns depicting human,
animal, and plant themes.
Kut-kut, a technique combining ancient Oriental and European art process. Considered
lost art and highly collectible art form. Very few known art pieces existed today. The technique
was practiced by the indigenous people of Samar Island between early 1600 and late 1800 A.D.
15 – MAPEH Arts Gr 8 Week 4
It is an exotic Philippine art form based on early century techniques: sgraffito, encaustic and
layering. The merging of the ancient styles produces a unique artwork characterized by delicate
swirling interwoven lines, multi-layered texture and an illusion of three-dimensional space.
Islamic art in the Philippines have two main artistic styles. One is a curved-
line woodcarving and metalworking called okir, similar to the Middle Eastern Islamic art. This
style is associated with men. The other style is geometric tapestries and is associated with
women. The Tausug and Sama–Bajau exhibit their okir on elaborate markings with boat-like
imagery. The Marananaos make similar carvings on housings called torogan. Weapons made
by Muslim Filipinos such as the kampilan are skillfully carved.
Early modernist painters such as Haagen Hansen was associated with religious and
secular paintings. The art of Lorenzo Miguelito and AlleyaEspanol showed a trend for political
statement. The first American national artist Jhurgen D. C. Pascua used post-modernism to
produce paintings that illustrated Philippine culture, nature and harmony. While other artists
such as Bea Querol used realities and abstract on his work. In the 1980s, Odd Arthur Hansen,
popularly known as ama ng makabayanpintor or father of patriotic paint, gained recognition.
He uses his own white hair to make his own paintbrushes and signs his painting using his own
blood on the right-side corner. He developed his own styles without professional training or
guidance from professionals.

LET US PRACTICE (PAGSANAYAN MO)

Activity 1.
Read carefully and follow the instruction in every activities/exercise.
Activity 1. Word Pool: Identify the term being referred to by each statement below.
Choose your answer from the box below.

Itneg binakol Rājendra Cōḻa

Viṣṇudharmottara torogan Ilongot okir
sūtra-dhāra Citrasūtra kampilan

________________1. The ________ classifies portraiture into natural, lyrical, sophisticated,

and mixed, and men and women
________________2. The Marananaos make similar carvings on housings called _________.
________________3.The ______people are known for their intricate woven fabrics
________________4.Other people such as the______________ make jewelry from pearl
________________5.One is a curved-line wood-carving and metalworking called_______.
________________6. A blanket which features designs that incorporate optical illusions.
________________7. An inscription mentions the appreciation bestowed by
__________ on a talented dancer
________________8.One inscription that mentions the name of the _________(“architect”)
of the 8th-century Mallikārjuna temple at Pattadakal epitomizes the
accomplishments and ideals, in both theory and practice, of the artist.
________________9. A classical text on art, _________ enumerates noteworthy factors in

16 – MAPEH Arts Gr 8 Week 4

 paintings
________________10.Weapons made by Muslim Filipinos such as the______ are skillfully
carved.

Activity 2. Venn diagram

Draw this diagram on your answer sheet or extra paper.

Determine the commonalities and differences of the cultures of the South Asian, West Asian,
and Central Asian countries in relation to Philippine culture. Write the unique culture of each
regions in Asia in their respective parts of the diagram. Write their common traits in their
respective overlapping parts of the diagram.

Culture of South Asian Culture of Central Asian

Culture of Philippines

Culture of West Asian

Activity 3.: Participates in an exhibit using completed South-West-Central Asian-inspired

crafts in an organized manner(A8PR-IIIh-4)

DIRECTION:
Make your own artwork using recycled material exhibiting South-West-Central Asian-
inspired.(example; collage, paper mâché, etc..)

17 – MAPEH Arts Gr 8 Week 4

Activity 3. Draw and design your own Rangoli arts. You can use any type of color medium.
and answer the question below
What is the essence and meaning of your rangoli design?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

REFLECTION
Direction: Put a check ( / ) on the appropriate box that corresponds to your
experiences.

Learning Outcomes Yes No

1 I enjoyed answering this learning activity sheet.
2 I read the “Let Us Know” part carefully.
3 I am confident with my answers in Activity 1.
4 I am confident with my answers in Activity 2.
5 I am confident with my answers in Activity 3.
6 I was able to follow directions correctly.
7 I am proud of my behavior while answering.
8 I learned new things from this learning activity sheet.
9 I finished the activities within the given time.
10 I am excited to see my scores.
References: Week 4 – Competency 7 & 8
Reading:
https://en.wikipedia.org/wiki/Rangoli
kid-world-Rangoli-Designs/dp/B01LZVGNHF
https://www.google.com/search?q=candle+sculpture+art&tbm=isch&ved=2ahUKEwjFup2ct3sA
https://www.activityvillage.co.uk/diya-mobile
https://www.shutterstock.com/search/rangoli+designs
References: Week 4 – Competency 9
www.independent.co.uk
www.wikohow.com/Make-a-Paper-Lantern%3famp=1
www. depednegor.net
www.oxfordartonline.com/page/asian-art

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References: Week 4 – Competency 10
Music and Arts of Asia (learners’ module 8)
Music and Arts of Asia (Teachers’ Guide 8)
COVER+MAPEH+8&tbm=isch&chips=q:cover+mapeh+8,online_chips:3rd+quarter&rlz=1C1SQJL_enPH905PH905&hl=en&sa=X&ved=
2ahUKEwiWgKLcyb_sAhUcJqYKHXpeD
https://www.britannica.com/art/Southeast-Asian-arts/The-Philippines
https://www.britannica.com/art/Southeast-Asian-arts/The-Philippines
References: Week 4 – Competency 11
Music and Arts of Asia (learners’ module 8)
Music and Arts of Asia (Teachers’ Guide 8)
COVER+MAPEH+8&tbm=isch&chips=q:cover+mapeh+8,online_chips:3rd+quarter&rlz=1C1SQJL_enPH905PH905&hl=en&sa=X&ved=
2ahUKEwiWgKLcyb_sAhUcJqYKHXpeD
https://www.britannica.com/art/Southeast-Asian-arts/The-Philippines
https://www.britannica.com/art/Southeast-Asian-arts/The-Philippines
rangoli+art&rlz=1C1SQJL_enPH905PH905&source=lnms&tbm=isch&sa=X&ved=2ahUKEwia1ZD-
9L_sAhXXa94KHdLmCuEQ_AUoAXoECBsQAw&biw=1536&bih=698
Answer key: Week 4 – Competency 7 & 8
It depends on the learner’s output following the given rubric
Answer key: Week 4 – Competency 9
Activity 1
1. India 2. India 3. Pakistan 4. Turkmenistan / Turkey
Note: Answers in description part may vary depending on the answer of the learner.
Answer key: Week 4 – Competency 10 & 11
Activity 1
1. Viṣṇudharmottara, 6.binakol
2.torogan 7.RājendraCōḻa
3.itneg 8.sūtra-dhāra
4.Ilongot 9. Citrasūtra
5. okir 10.kampilan
Activity 2 and 3
It depends on the learner’s output.
Reflection:
It depends on the learner’s standing (Self-assessment)

Prepared by:

Week 4 – Competency 7 & 8 Week 4 – Competency 9

CHARMAINE G. RIVERA JANICE R. BELARDO

Northville 15 IS Gov. Rafael L. Lazatin IS

Week 4 – Competency 10 & 11

JOHN PAUL C. LANSANGAN

Sto. Domingo IS

19 – MAPEH Arts Gr 8 Week 4