hum final Flashcards
A _____ is an image, spoken or written word, sound, act, or another visual or structural device that has symbolic significance.
MOTIF
__________ can be used to change the meaning of a word or phrase, they can change the way we view things.
SYMBOL
Illustrative representation, emphasize the points in common between the signifier and the signified.
ICONOGRAMS
They are iconic signs which represents complex facts, not through words or sounds but through visual carriers of meaning.
PICTOGRAMS
Sacred art which uses themes and imagery from Christianity.
CHRISTIAN ART
They are topographical representations with complex functions (statics, etc.) and iconic facts, for example an atlas or the ground plan of a house.
CARTOGRAMS.
They are visual signs which are partly iconic representations, but are more functional carriers that illustrate, for example, a sequence of facts of functions.
DIAGRAMS
Typically, it corresponds to the sign as a symbol which relates to the object or concept referred to, independently of any format identification with it.
IDEOGRAMS.
They are conceptual representations like writing. They are visual, referential linguistic signs that do not take the phonetic dimension into consideration.
LOGOGRAMS
It is a sign that is also composed of a sign, derived from a written repertoire such us the alphabet.
TYPOGRAMS.
It is a sign that is used to signify linguistic or other sounds.
TYPOGRAMS
The term comes from the Greek word Ikon meaning “image.”
ICONOGRAPHY
It is an Ideogram that convey its meaning through its pictorial resemblance.
PICTOGRAM.
It is the art, science and technology of making maps together with their study as scientific documents and work of art.
CARTOGRAPHY
A system of “idea writing” that does not represent words or sounds in a language.
IDEOGRAMS
A sign or character representing a word or a phrase.
LOGOGRAM
The style and appearance of printed matter
TYPOGRAPHY
Each written word represents a sound.
PHONOGRAM.
One of the most precious traditional livelihoods that are still kept until today.
WEAVING
Art and craft of making interwoven objects, usually containers, from flexible vegetable fibers, such as twigs, grasses, osiers, bamboo, and rushes, or from plastic or other synthetic materials.
BASKETRY.
One of the oldest and most widespread of the decorative arts, consisting of objects made of clay and hardened with heat.
POTTERY.
The production of artistic articles (personal ornaments, everyday articles, religious articles, weapons) primarily from precious metals (gold, silver, and platinum) but also from certain other nonferrous metals, frequently in combination with precious and semiprecious stones, pearls, glass, amber, mother-of-pearl, ivory, and similar materials.
JEWELRY-MAKING
It is a delicate and exquisite hand-woven cloth that is made from the fibers obtained from the leaves of pineapple plants.
PINYA CLOTH
It is widely grown in certain regions in the country and it is woven mainly to make ‘sinimay’ fabric and abaca rope, as well as specially papers like vacuum bags, currency, and tea bags.
ABACA FIBER
An example of pottery-making which is used for cooking.
PALAYOK.
The ‘burnay’ pottery in __________ is still a lively tradition that continues up to the present.
ILOCOS SUR
It is the most familiar art form among Filipinos. The most popular woodcarvings are those of the anitos (nature gods), santos (saints), and statues of Christ and the Blessed Mother.
SCULPTURE
One of the techniques used in sculpture.
CARVING
It is the immaterial essence of individual life; a person’s total self;” or even “the cultural consciousness and pride of a person.”
SOUL.
Refer to “an area; a distance from other people or things that a person needs in order to remain comfortable; an opportunity for privacy or time to oneself.”
SPACE.
DAYAW means “________” in Kanlungan – The Sheltering Filipino Home.
PEACE
They are houses raised on stilts (or piles) over the surface of the soil or a body of water.
STILT HOUSES
The native house looks like an elevated pyramid with wooden walls and a ladder. The materials used were made out of timbers tied together without using nails.
IFUGAO HOUSE
A house within a house.
BONTOC HOUSE
The principal house of TBoli and the folks of Cotabato are superstitious and arty in breathing, where being ingeniously in high spirits is the secrets of their existence
GUNUG BONG
Tausug tribe’s traditional house.
BAY SINUG.
Kalinga house highlighting the octagonal house’s unique and functional features.
BINAYON
The Bontoc bahay kubo uses wood for the posts, girders, joists, and walls, and thatch or bamboo for the roof.
FAYU
One of the oldest structures in the Batanes islands. The house is made of limestone and coral and its roofing of cogon grass.
IVATAN HOUSE
It is reserved for the Maranao’s elite. It is typified by the prominent use of the okir, a design motif based on elaborate patterns of vines and flowers.
MARANAO’S TOROGAN
It is reserved for the Maranao’s elite. It is typified by the prominent use of the okir, a design motif based on elaborate patterns of vines and flowers.
MARANAO’S TOROGAN
Flooring is made of withered bark of the mahogany tree or split bamboo and no decorations at all in the house because they stay outdoors most of the time.
MANOBO HOUSE
A Traditional Yakan house is called _______. It is a rectangular structure with 50 to 100 square meters area and 2 meters elevated above the ground by timber posts
LUMAH
Houses built over the water are typically connected by catwalks and planks.
SAMAL HOUSE
It is a design or pattern often or curved in hardwood, brass, silver, and wall painting in curvilinear lines and Arabic geometric figures.
OKIR
Maranao adoptation of chess
SATORAN
A house ornament design by Maranao people on Torogan houses.
PANOLONG
Place emphasis on creating an artform that is built on the beauty and respect for the teachings of Islam.
ISLAMIC ART
Islamic carpets are also called ____________.
ORIENTAL RUGS
A spontaneous style of theatre using unrehearsed and unscripted acting scenes.
IMPROVISATION
Introduce us to your characters, establish a setting for the scene and set up the conflict. First few lines should let us know past information that could be crucial to the improv.
BEGINNING.
The problem or obstacles a character must overcome.
CONFLICT.
The problem or obstacles a character must overcome.
CONFLICT.
Conflict becomes more complicated as each character established what they need. Each character must have their needs established through dialogue. This must be believable.
MIDDLE.
It is where characters solve the problem and conclude the scene.
END
It helps you expand your way of looking at things and strengthens your decision making skills. You do this most often in dramatic improvisation.
ROLE PLAYING
A verbal command for beginning or end of scene.
CURTAIN
A verbal command given by the director to stop the dialogue and movement in a scene.
FREEZE.
No over acting here. Be real, be your character.
NEVER SHOWBOAT
These are important as it makes the improv looked rehearsed and planned. Before you begin your scene, get in your huddle with your group and make decisions
GUIDELINES
Form of improvised dancing that has been developing internationally since 1972. It involves the exploration of one’s body in relationship to others by using the fundamentals of sharing weight, touch, and movement awareness.
CONTACT IMPROVISATION
The creative activity of immediate musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians.
SOUND IMPROVISATION
The playing of dramatic scenes without written dialogue and with minimal or no predetermined dramatic activity.
THEATER IMPROVISATION
Occurs when you say or do something that is inconsistent with the role you are creating.
BREAKING CHARACTER
It is a common form of breaking character
LAUGHING
It is taking on the role of a person other than yourself in an improvisation based on a given dramatic situation.
ROLE PLAYING
The art of today, produced in the second half of the 20th century or in the 21st century.
CONTEMPORARY ART
We physically practice the art of being fluid in our bodies.
FLOWING
We physically practice the power of masculine energy.
STACCATO
We physically practice releasing our bodies. We let go of the head, spine, hips, feet, and move faster than we can think.
CHAOS.
We practice how to break out of destructive patterns and surrender to the depths of the fluid, creative repetitions of our soulful selves.
LYRICAL
Being still and doing nothing are different. Stillness moves, both within and all around us.
STILLNESS
