ARTAHUM

• Indigenous visual arts and craft sector


  Provides very significant economic, social and cultural benefits to Indigenous individuals and communities, and the wider Australian and international community
• Benefits of the Indigenous visual arts and craft sector

  • Pride
  • Self esteem
  • Maintenance of culture
  • Transmission of culture
  • Inter-generational learning
  • Meaningful activity
  • Purposeful life
  • Creative achievement
  • Recognition from peers
  • Recognition from national and international art media
  • Provision of much of our nation's 'corporate identity'
• Economic benefits of the Indigenous visual arts and craft sector

  • Substantial although difficult to quantify mainly due to the lack of comprehensive data
  • Accrue to the nation, the individual artists and their communities, the arts industry and related business sectors
• Professor Altman estimated in 2002 that the national value of Indigenous visual arts sales was between $100 million and $300 million
• More recent estimates place the value of the sector at $400–$500 million
• The Northern Territory and the states benefit economically from the Indigenous visual arts and craft sector
• In the Northern Territory the sector has been described as being of 'crucial importance'
• In Queensland, cultural tourism also plays an important role, with 47,000 visitors to Aboriginal art, craft and cultural displays in 2004
• The use of natural resources by Indigenous artists is positive as it provides incentive for them to use their ecological knowledge to manage these resources sustainably
• The maintenance of customary fire regimes by Indigenous people residing on their country generates environmental spin-offs that reduce fires and destroy raw material inputs to the arts
• Indigenous people themselves benefit financially from the sale of their arts and craft, however the success of Indigenous art does not necessarily translate into major economic benefits or better living standards for many Indigenous artists
• Aboriginal artists and craftspeople on the ground earn a small part of the overall 'take', despite being the obvious lynchpin of the industry
• In remote communities, income derived from art sales is often the only source of non-government income and this money supports communities economically
• Artists share their cash income with family members, as well as consumer goods they have purchased with their arts income, such as motor vehicles
• The money derived from the arts is distributed within the community, especially in remote areas where the concept of sharing is significant
• Puto Kutsinta


  Rice cake with a jelly-like texture made from a mixture of rice flour, brown sugar, and sodium hydroxide (or caustic soda also known as lye)
• Puto Kutsinta


  • Yellow food coloring or annatto extract is added before the puto is steamed in small ramekins
  • After it's cooked, it is topped with grated coconut or added syrup (latik) for sweeter taste
  • Puto Kutsinta is a very popular merienda snack throughout the Philippines
• Kutsinta

  • Derived from a pre-colonial kitchen tool used in shaping the rice cake
  • Or the word comes from the Chinese Hokkien term "Kueh Tsin Tao", the term kueh meaning "little steamed cake or cookie for snack"
• Most merchants and traders in pre-colonial Philippines were from China, so it makes sense that they would introduce "kue tsin tao" to Filipinos who later renamed it "kutsinta" and made it their own
• Kakanin


  An umbrella term for sweets made of glutinous rice and coconut milk
• Kakanin

  • Sweetened with sugar, wrapped in banana leaves and traditionally steamed in a special clay stove called a bibingkahan
  • Initially created to serve as offerings to pre-colonial gods and/or as gifts to honored guests and visitors
• Biko


  Rice cakes made with malagkit rice and coconut milk, with a dark brown topping
• Puto


  Steamed rice cake, traditionally white in color but can also be tinged green or purple to indicate flavoring
• Sapin-sapin


  Made with galapong, coconut milk, sugar, condensed milk, and an occasional ube/langka/cheese flavoring, has a dense, pudding-like texture
• Ginataang Bilo-Bilo

  Mixture of diced root vegetables, bananas, and chewy rice balls cooked together in a soupy gruel thickened with coconut milk
• Suman


  Glutinous rice cooked in coconut milk, wrapped tightly in palm leaves, and then steamed
• Kutsinta


  Made with ground rice and sugar, with the addition of lye (sodium hydroxide) to give it its distinct muddy yellow color and jelly-like texture
• Palitaw


  Sticky rice is washed, soaked, and then ground to a fine powder and then mixed with coconut milk and sugar to make the batter, which is then dropped into boiling water and left to cook until they float back to the surface as soft, flat disks
• Elements of music

  • Rhythm
  • Melody
  • Harmony
  • Tone color
  • Texture
  • Form
  • Style
• Rhythm

  The element of "TIME" in music
• Aspects of rhythm

  • Duration
  • Tempo
  • Meter
• Tempo


  The speed of the beat
• Tempo indications

  • Largo
  • Adagio
  • Andante
  • Moderato
  • Allegro
  • Presto
• Meter


  Beats organized into recognizable/recurring accent patterns
• Meter types

  • Duple
  • Triple
  • Quadruple
• Syncopation


  An "off-the-beat" accent
• Ritardando


  Gradually slowing down the tempo
• Accelerando


  Gradually speeding up the tempo
• Rubato


  Freely and expressively making subtle changes in the tempo
• Dynamics


  All musical aspects relating to the relative loudness (or quietness) of music