CAH, ISRD & GAD spearhead ‘ThinkTalk3: Lang, Lit and Comm Web Series

coming from the Cordillera. Gabito admitted that its not easy to find a niche so he started his painting endeavor using, acrylic, then he tried also oil and watercolor. Particularly, his painting materials included, Oil in Canvas, Acrylic on canvas, fantasy realism as style, utilizes other materials he used before like crayons, watercolor, and pastel.

He shared to the audience that he developed his style by centering his subjects to Cordilleran myth, legends with whimsical characters. He also inquired, “Why Cordi women?” He admitted that Cordilleran women become a favorite among Manila Art collectors because not only that it shows a unique subject, the culture that they represent is valuable. Gabito emphasized the identity of these women by making sure that, the wearing of beads and tapis are authentic and historical valuable representation of our culture.

totally wrong, they too have truth on it such as the power of suggestions for instance, Gabito enthused to the participants.

hopes to carve out deeper meaning and essence to the culture and identity of the Cordillera.

said “Surrealist artists sought to channel the unconscious as a means to unlock the power of the imagination.” education.”

The College of Arts and Humanities (CAH) in partnership with the Institute of Social Research and Development (ISRD) and Gender and Development (GAD) office conducts the staging of the third installment of ThinkTalk3: Of Shapes, Hues, and Notes: Bringing the Arts in the Classroom at the Everlasting Hall, ISRD on November 14 and 15, 2022.

Reading Through Arts

The first speaker is Dr. Elaine Grace J. Dizon started with the question, “What is Reading?” One of the onsite participants answered, “Ang pangbasa ay interaction ng mambabasa at author.”

Then she asked a follow-up question, “What is Art?”. Numerous answers were elicited from the audience such as, “Art is everywhere”, “Art is exteriorized emotions”, and “Art is a mirror you hold on to your society.” Artworks accordingly communicate certain movements, society, experiences, culture, emotions, or anything to us. She explained that when we read art, we ask, “What is this trying to communicate?”

There is a need to understand art and support those who produce them.

According to Dizon, we are living in the 21st Century where “Creativity is the most needed currency.” Creative in almost everything we do and that is the challenge to all Art teachers to help their students find their creative niche. She further emphasized the importance of Visual Literacy which is the ability to evaluate, judge, and communicate. She said, “We need VL and the root word is literacy. Being able to read and write visually and visually demands

The central question of Dr. Dizon’s talk gears towards providing a framework to the question, “How to teach the Arts?” To provide an answer to this, she conducted research using the Delphi Method and interviewed experts in the visual arts. She formulated and then came up with the Dizon Dice Strategy – a pyramid structure having 4 sides to the 4 strategies namely: Discovery, Interrogation, Conservation, and Expression.

To expound further, Discovery Strategy is where the teacher teaches the students to think outside the box. For instance, if a student color the mountain yellow. Allow them to discover themselves by accepting this unconventional style. And also letting them learn through their mistakes.

The Interrogation Strategy is defined by Dr. Dizon as the ability to formulate and raise questions to interrogate further existing theories and rethink these principles. Teachers dominate questioning in class but it shouldn’t be that way according to Dizon. The Socratic Method could be used it’s the dialogue between the teacher and students. The students this time will ask a question. For example, the teacher will show students painting and the students will formulate five questions. This would develop their critical questions and think-aboutthinking questions approach and the teacher will realize that they have sense in their questions.

At this point of discussion, Dr. Dizon shared that Art criticism could be drawn out from the Author’s Meaning and the Audience’s Meaning. An example would be the interchangeable art forms they created or brought.

The author’s meaning could have different from the interpretation of the audience. Dr. Dizon noted that there is a possibility in reading art multiplies differently depending on our background, culture, and experience. Audience meaning, on the other hand, they can read depending on what he sees and on the levels of meaning he/ she is prepared to take.

To implement this, schools could veer away from the conservative approach of spoon-feeding the students. Instead, they could organize art talks. This is simply inviting local artists and letting them talk inside the classroom or they can visit creative spaces like Tamawan, Ili-likha, museums, galleries, etc.

The Conservation Strategy recognizes the traditional teaching or lecture method. Since this is a strategy, Dr. Dizon noted that the Di-strategy is a useful mobilization of the four strategies.

The class should use the 4 strategies or DICE. She said, “Teachers are the facilitator and not the manipulator.”

Finally, the Expression Strategy is captured in one word “production”.

Teachers should encourage the students to learn, students should express their creativity. It is summed up into the following, a.) Show and tell, b.) Imitation- mirror not copy, c.) incorporation (tech and art), and d.) production.

In the next part of Dr. Dizon’s talk, she cited the work of Rose, 2011- the Five Levels of Visual Analysis. She started with 1.) Literal Description- This is what students see, the 2.) Comprehensive Feeling is what the person feels when he/she sees the artwork. This is based on the knowledge and experience of the students, the 3.) Formal Analysis- is a mixture of levels 1 and 2. The central question is “What do you see and feel and principles of organizations, image development, materials, symbols, and representations?” the second to the last, is 4.) Interpretation of Meaning- this allows the students to formulate an interpretation of meanings and connect these principles of arts to arrive at a certain pattern, intensity, and meaningmaking of students. Finally, the 5.) Value Judgement- this is the highest level, whereby, students and art teachers alike would dig deeper, and from what they have seen, and felt, what could now be their judgment on the artwork?

To demonstrate this, Dr. Dizon used Pablo Picasso’s painting “The Old Guitarist” and allow the participants to go through the five levels of visual analysis as part to end her discussion.

The second speaker, Sir James M. Gabito finished his bachelor of Fine Arts at the University of the PhilippinesBaguio. Gabito started his talk with the challenge of bringing the subject Cordilleran women in Manila’s painting landscape. He said, “Its always farm, portrait and harvest, this is the common subjects of arts in Manila.” He then noted, that this could be an opportunity to showcase the different subject of arts

To demonstrate this, he presented sets of paintings, he finished to stir different discussion of art demonstration, praxis and treatment. In his first example, called “Fading Culture”- the painting went to Singapore on one of his exhibits there. The uniqueness and its vivid use of warm and green colors elevates the subject. The second painting, is called “Tiku” which is now being exhibited in the University of Arkansas. The value of these paintings being appreciated in other countries gives pride to our region and our people as well. The third painting called “Afternoon Break” reminds him an important occasion that inspired him to draw this painting. It was his marriage- the happiest moment of his life. According to Gabito, in this particular painting, he uses a style where the bottom part of the painting fades in color to accentuate memory, happiness and allusivity of time. The fourth painting is called “Sleeping Beauty” derived from the famous Kalinga Legend. But in a different perspective, Gabito veers away from the popular depiction of the ‘sleeping beauty’ painted in jeepneys, family displays or tokens. He said, “The literal sleeping beauty that we come to know of is from a commercialized depiction.” In his version, he uses flesh-toned colors and uses different materials to blend in to the nature. The fifth painting, is a “Manghuhula”. He explained in this particular example that in painting, “Habang humahaba ang panahon, tumataas ang value. Like mangkukulam, manghuhula, manghihilot as subjects in my painting, in the future students would appreciate this vanishing culture of ours. Through theme, we have developed our first medicine. It’s a remembrance from those yesteryears.” He also noted that the Manghuhula in a more culturally informed perspective may not be all

On this part of his talk, the audience begin now to immerse in the various wonderful works of Sir Gabito, as they show elation to every painting laid on to them. The sixth painting presented to the participants is an example of Sir Gabito’s earlier works. This is part of his sharing of his journey in this field. This is called “Legend of the Bridal Falls.” The story behind recalls a distant past when the Kenon road was constructed, the falls was famous for tourists and travelers for picture and for relaxing. Sir Gabito made a cordilleran research- based on the legend story from Sam-it and his painting captures the sweetness of Sam-it. Juxtaposed with another painting, is called “legal Hair”that depicts the nature of Cordilleran’s culture of inheritance. He recalls the practice that inspire the paintinggenerally the practice is- the house and beads are inherited by the girls, while the land will be given to the boys. However, according to Gabito, problems arise when in a particular situation, he come to know about these two boys who are drunkard and who sold all their lands.

The boys wanted to get the inheritance of the girls- the house and the beads. In this cause that Gabito decided to use this as inspiration and portray this changing cultural system at least preserved it through paintings.

The seventh painting, called “Caregiver” from atok. The subject presented is an old woman who adopted the small kid but only have a very small house but can’t bring the child to college. The boy went to UK after. The painting, is an inspiration. Gabito said “The woman in the painting don’t expect anything from the boy she adopted but she just did the right thing.” At this point, Sir Gabito is emphatic to emphasize to the teachers that the appreciation of paintings should be accompanied with stories and the context that inspires the students.

The eight painting is the Lady of Mt Makiling. Sir Gabito depicts the Goddess of animals- that protects and a reminiscence of an ancient hunting regulation. The story behind is about the hunters who frequents the forest for food, in one occasion a mystical woman suddenly appeared and the hunters ran away and didn’t resume their hunting.

Gabito emphasized the value of the story, “Imagine if without the Goddess of animals - then all animals will be killed.” This is how Gabito thinks the value of the painting lies on how it captures how the hunting of all animals delayed in the Cordillera. “The painting becomes a reference of this tradition” he added. Gabito pointed out that in this generation, many are not reading anymore and through painting, he

On his, concluding point, Sir Gabito gave remarks on how his journey as an artist made it possible to raise his family contrary to misconceptions that the art career is not meant for a living. He advised the teachers and the participants to continue supporting the artists in many possible ways they can in order for our society to prosper.

Reading Alembong: Putting the Picture into Words by Karen Laking

In the discussion of her reading, she noted that “Alembong” shows two female figures facing each other, as if they were in the act of dancing. The dominant colors are brown, blue, green, black and gray rendered into the canvass with smooth and fine brush strokes. The black lines resembling twigs or roots are dominant in the painting; these gave the painting a somewhat “mysterious” aura because the viewer would really wonder what they are and what they represent. They could be veins perhaps to represent the physical bodies of the figures and the “fish-like” shapes which are dominant could also represent the muscles/ flesh of the figures to underscore their “human-ness”.

The third speaker is Maam Karen O. Laking- a faculty of the College of Arts and Sciences. She gave a full-length critique and a demonstration of art criticism of a painting of Alembong. She started by first asking the audience five questions they could draw out from the painting projected in her presentation.

On the surface, the painting have various hues of blue, orange and green veiny lines emerges irregularly. Its fluid with strong and light strokes drawing out and near. Four rounded circles elevated holds the gaze on them, two black, two smaller white pointy materials in place. On the second look, two images immerge probably a man and a woman, their face drawn near each other and their body melted. One participant commented that she didn’t notice these two figures, she thought that its abstract- lines and colors. Other participants were quick to point out the intimacy between them. Others asked the objects as point breasts and why the color black and white? These were initial thoughts of the participants, Maam Karen was able to elicit from them before she read her paper on Reading “Alembong” Putting the Picture into Words.

She started, “Painting is the art that has most to do with revealing the visual senss and the visual appearance of objects and events. This is a sort of a critique of the painting “Alembong” of the local artist Tara Lalaine Natividad using the theories of Clive Bell on The Aesthetic Hypothesis and Eugene Veron on Aesthetics.”

Maam Karen first explained the framework of the reading she is doing then cited literary theories to support her claims. “Alembong” according to her is an example of surrealism. Whereby, she

She clarified that the materials seen in the paintings are made of rubber and place therein to ‘emphasize’ the breasts of the figures. We then learned that these are two women. There were earth colours, faceless subjects, discrete but suggestive. Laking assumed that the title ‘alembong’ is consistent with its meaning ‘flirting’ as it would be on the two women attracted to each other in the painting. Most importantly, it veers away from the heteronormative relationships as supported to how subdued the colours were used. Laking interrogates the shadowed situations of homosexual relationships in the society, to quote:

“The color of the breasts is also significant, the contrast of black and white. Perhaps the figure with the black breasts is symbolic of a glamorous, graceful, efficient and secured woman, a woman who knows what she wants, besides, women wear black to attract and black is also a color of sophistication. The figure with the white breasts on the other hand symbolizes a pure, innocent, virginal and simple woman. With these given characteristics we can say that these two women of opposite characters were attracted with each other.”

The proceeding discussion, worked its way on the importance of art as ‘eteriorized emotion’ and cited Eugene Veron. She suggested, “I think the “Alembong” will be evaluated as a “work of art” using these criteria of Veron.” This set-up is used to bdeepen the reading as it ties-up that art as a ‘signifiacnt form’ to cite Clive Bell’s. To quote, “For me personally, the fact that I have chosen it from all the other works exhibited is an indication that I “felt” something when I saw it,” Laking contemplates the power of the art to communicate to its viewers in different layers and meanings.

In closing, she said, “indeed, the work has qualified on the standards set both by Eugene Veron and Clive Bell thus, we can rightfully say that it is a beautiful piece of art.” Laking also included an ekphrastic poem inspired by “Alembong” called “Fancy Flight” (See Literary Ventures section for the full poem).

JENNIE M. BITO

Editor-In-Chief

Editorial Editor / College Info Officer

RICHARD A. GIYE

News Editor / Lay-out & Design

REVIN XAVIER L. IGNACIO

Feature & Literary Editor

JOSHUA D. PAYANGDO

Sports, Health & Wellness Editor

ARTICLE & PHOTO CONTRIBUTORS

Karen O. Laking

Mae Castillo

Janet B. Mede

Vanderlee M. Batalier

Joseph B. Quinto

Frances Mae G. Diase

Noriebelle O. Jimenez

Candice Grale K. Belgica

James Aquino

Deborah Taquio-Aquino

Jennilyn Lumang-ay

Lory Rose Supsupin

Penelope Tica-a

Pryce Environ Quintos

Dominga Tomas

Joseph Quinto

The Mountain Collegian UPAO

Onofre G. Dacocot, Jr.

Mikhail H. Del Rosario

Elsie M. Bayawan

Cherry Ann B. Napiloy

Prince Jheruel Gadang

Consultants

DR. MILDRED L. TAKINAN

Assoc. Dean, CAH

DR. MYRNA S. SISON-KUIPER

Dean, College of Arts and Humanities

DR. SAMUEL S. POLIDEN

VP for Academic Affairs

Ignatius

Revin Xavier L. Ignacio

“No Building Yet”

I’ve often wondered what it’s like sharing the same faculty, working closely with members of the college, attending classes without difficulties, and having an organized facility for students and teachers— a building which unfortunately, we do not have.

Transitioning from Online to F2F

Classes this Pandemic

The move of the Commission on Higher Education (CHED) in coordination with the different Colleges and State Universities in the Philippines like Benguet State University (BSU) to transition from online to face to face classes in tertiary education this pandemic is prevalent. With the higher population of the country being now fully vaccinated against COVID-19, the opening of the economy, tourism, classes particularly tertiary education is very evident. It is hoped that face to face classes this pandemic will merit more gains than pains.

Transitioning from online to face to face classes amidst this pandemic has differences - positive and negative. Hopefully, the former outweighs the latter. For one, online classes need strong/good internet connectivity while face to face classes entail adherence to COVID-19 protocols of wearing face masks, social distancing, disinfecting with alcohol every now and then or washing of hands and temperature reading.

As to online classes, they could be at home, anywhere or any open space with strong internet connectivity but face to face (limited or full) classes should be inside the classrooms in school. Since the home or any open space/place with internet connectivity is the medium for online platform classes, there will be lesser COVID-19 exposure thus, decreases the COVID-19 cases while on the other hand since the school is the setting for face to face classes, this leads to more increased COVID-19 exposure of students and teachers that consequently results into more cases of COVID-19.

Further, the COVID-19 pandemic, brought about Blended Learning wherein uploading of Modular Tasks/ Activities is done for students’’ tasks/activities/outputs and submission is also done online like Google Classroom, email or other online platforms. Moreover, the online platform for the conduct of collegiate classes is applied during the height of the pandemic- Enhanced Community Quarantine (ECQ) with no developed vaccines yet as antidote to the pandemic. However, with the advent of the COVID-19 massive vaccination for all ages, the full time online

Jenny M. Bito

platform for basic and tertiary education eventually transitioned from limited (August, 2022) then from limited to full face to face classes (November, 2022) to complement the opening of the economy, business, tourism, sports, entertainment/ amusement and other endeavors in order to learn to live and cope with the pandemic.

Truly and truth- fully, the transition from online to face to face classes drew varied reactions from different walks of life, raised many eyebrows, proved a force to wreckon with and a reality all educators have to face and accept most specially as present day tertiary educators. Indeed, face to face classes is a part of moving forward-in the new normal in the academic sphere amidst this pandemic.

As the first semester of this academic year comes to a close, I find it challenging to envision how the instructors of the College of Arts and Humanities (CAH) survived because it is apparent that CAH can be regarded as NPA, or No Permanent Address, as none of the three departments share a building, especially in light of the requirement that higher education institutions conduct their in-person classes in the middle of the semester. The changes in teaching mode from online to in-person classes have aroused several challenges and adjustments.

One is the lack of classrooms for students. The three (3) departments share few available classrooms from other colleges, and each faculty member must schedule and utilize the rooms every hour of every day.

Another is the relocation of the faculty office to another building in the middle of a semester. The English and Filipino department’s faculty members were relocated outside their customary faculty building to a farfunction hall with all their tables, chairs, filing cabinets, and other equipment. The former faculty space was turned into a teaching ground for face-to-face classes, and with this, we had to endure a lengthy commute between buildings to attend our classes.

The last significant issue is the absence of a facility for performing arts and more extensive presentation as a

It takes ten thousand footsteps to know my university campus in La Trinidad valley. Its hundredyear-old memory of farmers, teachers, scientists, builders, and many more remains to be the inspiration our youth today.

Nostalgia

Richard Giye

Campus Memory

requirement for their course, which was embedded in the curriculum.

As I reflect on these challenges, I’m still in awe of how resourceful all the departments were despite everything. This struggle was surpassed through strict schedules that were closely adhered to and considered. Each faculty member had to communicate the precise time and hour they would meet with their students in person to maximize learning.

A few of our instructors have had their students perform theatrical plays, dances, and art sessions in Shimamura Park to mimic a stage fit for the performance. Also, courses with multiple students had their instructors consult various degree deans and faculty to ask permission to use available rooms in their buildings.

The faculty of the College of Arts and Humanities (CAH) has demonstrated its zeal and dedication to provide students with an excellent education and displayed strength, adaptability, and resourcefulness.

Although we surmounted these impediments, CAH can exceed more expectations and boost excellence with a building to its name.

The dream of the college facility with its classrooms, faculty room, laboratories, and theater will never die. But still, CAH will continue to give topnotch university service with or without that building…yet.

The land bears the heavy toils while the river meanders the borders to sustain the gardens, the flowers, the trees all life forms there at my campus. The wide roofs like mountains in the backdrop, the cornerstones of the buildings underlie thousands of bedrocks hauled by the students from the river. Yet beginning now the landscape begins to alter as numerous structures have been built. The surroundings of the school are tightening up and my campus begins to become smaller and smaller in view.

At the very heart of where it began, the few students who first toil the land in 1916 wouldn’t imagine this present developemt. More than 13,000 enrolled students and thousands more of alumni who already have served the province and abroad.

At the very same campuscut across the heart of valley bore memory of the first builders of the campus. Look around the campus, their names inscribed at the columns of the gates.

From the meandering Balili River, the rocks hauled by the first students still hold the walls of the buildings including the canopy poles where the abundant kayabang filled with the first harvest sits. The recent earthquake didn’t break them.

I should not forget also the children that run in the ground, swing in the branches of the trees, and shout with glee in the lazy afternoon after their classes. Yet, their confinement to small spaces begin as many buildings will be put up sorrounding the campus. A true educator should remember his childhood too, the space he needed to be creative, explorative and commune with the nature. We should maintain and open up green spaces for us all to thrive.

Further, children shouldn’t be brought-up eating fast-food, as we food stalls mushrooming in the campus. From one hub to another students surrounded by the indifference of the crowd and dulled by popular gadgets and commodities sold around wouldn’t make our campus safe for everone.

I don’t want to disremember my campus where like in the cities, college students dine in cozy coffee shops inside their school, instead I want to sit in the ground under the shade of a tree. Trees should lined-up way to my next class and not stalls and stalls of merchandise, my school is a safe ground where I could learn not where I could do business.

The space and the air should where the students’ learnings and creativity be inspired. Their vision should be wide and far-reaching and not hindered by another building blinding their future. The wide panorama at the heart of the valley, the hundred milestones, the hundred acre of vast knowledge should guide them once they leave the campus.

Help us recall the story of our school, the beginning story, the hallmark of its classrooms, the first students, the first writers, first farmers, and scientists. The ground where our campus stood remains to be toiled for the purpose of the education of the next generation. The land should be tilled, the gardens should continue to nourish us with real food from the ground.

And if all these grand plans will fail and turn into dust - the legacy of the farmers and the children of the farmers should be rewarded only by the enduring power of memory.