TRADITIONAL ARTS IN PROVINCE OF RIZAL

I. HIGANTES
a. Name: Higantes
Description: Higantes are composed of father, mother and a child measuring 7 to 10 feet. These
are traditionally paraded on the 22 nd and 23rd of November in Angono, Rizal during Higantes
Festival.

b. Brief historical background

According to stories, the original higantes were representation of Hacienderos during the
Spanish colonial period. The inhabitants of Angono paraded these higantes on the streets to
ridicule the arrogant and cruel landlords.

c. Artist : Perdigon Vocalan as “the quintessential Filipino contemporary artist.

d. Materials used : Big papier Mache figures of humans that represent farmers and fisherman.
Techniques:
The head of the giants is fashioned from a mold made of clay, which is dried under the heat of
the sun
With the advent of modernization and technology clay is changed to plaster of Paris and resin.
The mold is then pasted with lots of newspapers then split into the middle and sun-dried, after
which it is then pasted with the brown paper (the slit being covered) then sun-dried again and
painted. The body is made of bamboo, but other materials like yantok (rattan) and thin iron bars
can also be used. Yards are yards of clothing materials and accessories complete the costume of
the "Higantes".
Angono is a municipality in the province of Rizal. The word Angono came from the word, “ang nuno”,
meaning an old man on top of soil. First created as a pueblo, then it became a municipality in 1935.

This place described as, the Art Capital of the Philippines. The hometown of two National Artists who
have artistry in their blood, by means of music and painting namely:

1. Carlos ‘Botong’ Francisco for Painting and

2. Prof. Lucio San Pedro for Music.
https://angono.gov.ph/?p=1338
http://rizalangono.weebly.com/culture-and-traditions.html

II. BAYANIHAN

Name: BAYANIHAN

Description: This starts from encouraging one another, at the same time
helping each other’s problems to lessen the burdens in life. The bamboo
sticks that were used to carry the house can represent the foundation of life
on how a person is capable of being strong enough to handle one’s
problems or burdens in life. On the other hand, the problems or burdens
represent the bahay kubo or house. This goes to show that indeed, everyone
can be a hero, as each man carries a portion of the weight of the house and
in effect becomes a hero as he contributes in lightening the load for the
others.
Brief historical background

The artwork entitled Bayanihan literally means, being a bayan, and has been
used to refer to a spirit of communal unity and cooperation. The artwork
expresses itself very clearly and meaningfully, in which it displays Filipino
attributes by following their old tradition of helping their neighbors in
relocating, getting enough volunteers to carry the entire house and
transferring to another location. All is done in a happy and festive mood and
 at the end of the day. The moving family expresses their appreciation by
hosting a small fiesta for everyone.

Artist : CARLOS “BOTONG” FRANCISCO – his hometown is Angono,

Rizal

Materials used:

Francisco employed bold folk colors, rhythmic lines, and decorative patterns.
He evoked the communal life of Philippine gatherings and celebrations. His
images were drawn from mythology, history, legend, and from contemporary
Philippine village life. Francisco created many murals throughout his career.

The beauty of the painting is proof of how Carlos becomes one of the best
artists in the Philippines. The texture and colors make the artwork look
realistic. The proper sizes of the people and the bahay-kubo are
proportionate which made the artwork enticingly harmonious. These
principles help the artwork to be displayed at the UNILAB. It is concluded
that a good masterpiece follows the basic elements and principles of arts,
making it very pleasing to the eye and realistic as it seems.

Techniques:
Bayanihan shows Francisco’s distinctive style with its bold composition and the daring
juxtaposition of elements that showcased his mastery of anatomy and lush tropical color
https://365greatpinoystuff.wordpress.com/2010/06/13/164-bayanihan/

III. VISTA PARCIAL DEL PUEBLO DE ANGONO Y LAGUAN DE BAY

a. Name: Vista Parcial del Pueblo de Angono y Laguna de Bay
Description : images to Angono and its nearby towns.

b. Brief Historical Background:

A secular work which shows the nineteenth century lifestyle and topography of Angono. He was
one of the painting masters during the Spanish and American colonial periods . This painting,
which is now in the possession of The Bangko Sentral ng Pilipinas art collection

c. Artist: Juan Senson, also known as “Tandang Juancho in 19th Century Master of Angono

https://angono.gov.ph/?p=1338
http://library.ust.edu.ph/assets/june09.pdf

d. Materials used:

Techniques:
 CONTEMPORARY ARTS IN PROVINCE OF RIZAL

I. MAGPUPUKOT
a. Name: Magpupukot
Description: Magpupukot means pulling in the net. Painting the lives of fishing community was
one of Botong’s favourite subjects.
b. Brief historical background
Angono , his hometown where he was based, was a fishing village.
c. Artist : CARLOS VILLALUZ FRANCISCO (aka Botong B. Angono)
d. Materials used: Oil on canvas (Visual material) 36x54 4/5 in.

Techniques:

https://httppinoyartshub.wordpress.com/2018/01/12/magpupukot-by-carlos-v-
francisco/#:~:text=Magpupukot%20means%20pulling%20in%20the,the%20mural%20was%20probably
%20copied.

II. SA UGOY NG DUYAN

 a. Name: Sa Ugoy ng Duyan
Description: San Pedro drew inspiration in composing the music of the song from the
melody his mother, Soledad Diestro, hummed when he and his siblings' were put into sleep
during their childhood.

b. Brief historical background

The song was supposed to be an entry to a competition in 1943, during the Japanese occupation of the
Philippines.[3] However, because he could not find a collaborator to write the lyrics, he was unable to submit
it.[3]

In 1947, San Pedro studied at Juilliard School of Music in New York City.[1] He went aboard a ship, the SS
Gordon, in 1948 to return to the Philippines. While on a stopover in the Hawaiian city of Honolulu, he met
Levi Celerio, who became San Pedro's lyricist for his composition and wrote the words of "Ugoy ng Duyan"
during the rest of their trip.[1] The song was completed by the time they landed in Manila.[4] Both San Pedro
and Celerio were later named National Artists of the Philippines
c. Artist :
Composer Lucio San Pedro
Lyricist Levi Celerio

d. Materials used:

Techniques:
The lyrics is written in the first-person point of view. It comprises two stanzas, with four
lines each. In the first stanza, the singer wishes that his childhood and his memories of his
mother will never fade. He also wants to hear his mother's song again, which he views to be a
song of love.
In the second, he describes his sleep to be peaceful while stars watch and guard him.
For him, his life becomes like heaven whenever his mother sings him her lullaby.
Finally, he reveals the reason for his longing: He is enduring some hardship, which is why
he craves for his mother's lullaby. In the final line, the singer addresses his mother, wishing that
he could sleep again in his old cradle.

https://en.wikipedia.org/wiki/Sa_Ugoy_ng_Duyan
 III. FILIPINO STRUGGLES THROUGH HISTORY KNOWN AS HISTORY OF MANILA

a. Name: Filipino Struggles Through History known as History of Manila

Description: A series paintings which depicts select events from Philippine History. It composes
of 10 canvas panels collectively measuring 2.7 meters height and 79.4 meters wide. (Location:
National Museum of fine Arts, Manila). The artwork is a declared National Cultural Treasure.
b. Brief historical background
History of the Philippines
c. Artist : CARLOS VILLALUZ FRANCISCO (aka Botong B. Angono)
d. Materials used: Oil on canvas (Visual material)
Techniques:
His paintings are in modernist composition with strong design and rhythm developing a
Filipino imagery, drawing inspiration from the customs and traditions of the Philippine people, as well
as from familiar environments.
According to restorer Helmuth Josef Zotter, Francisco's art "is a prime example of linear
painting where lines and contours appear like cutouts.“
His style of art is mural painting.
His artworks show national pride and deep love for Philippines, importance for Philippine
history and Filipino Culture
 Source: en.wikipedia.org
http://ilovetoeatbooks.blogspot.com/2012/10/the-fruit-pickers-under-mango-tree.html

3.
a. Name: The Fruit Pickers Under the Mango Tree
Description: Amorsolo demonstrating his use of "Chiaroscuro", an Italian term
describing contrast between light and dark, to achieve a sense of three-
dimensionality, especially in regard to the human figure.
b. Brief historical background
The artist, Amorsolo, created this artwork to show of the true value of Filipinos-hardworking.
He created this painting during the year 1937. This year was the rise of woman rights. Many
events for the Filipinas occurred during that time. One, the Philippines held a plebiscite for
Filipino women on whether they should be extended the right to suffrage; over 90% voted in the
affirmative. Also, for the first ever, Filipino women were given the right to vote during elections.

c. Artist : Fernando Amorsolo

d. Materials used : It was made by using oil on 25 1/4 x 37 1/2 inches canvas
Techniques: natural and backlighting techniques

Amorsolo used the steelyard principle to balance the figures; the bigger mass formed by the
folks under the mango tree is balanced by the smaller mass formed by the two youngsters at the
 left. A steelyard balance is a weighing scale where a bigger mass is balanced by a smaller mass
that is moved along a beam until equilibrium is achieved. Also, for color balance, one can easily
see how the different colors (orange, blue, yellow) are equally distributed on both sides of the
canvas.

The dominant cool color green in its various shades and tints serves to unify the whole painting
and highlights the more brilliant warm colors (orange, pink, yellow) used for the focal point. The
Filipino master also overlapped the main characters to achieve unity; the sitting lady may seem
to be isolated but is actually connected to the others through the tree trunk she's sitting on.

Value analysis (see black and white version) shows the painting is predominantly middle tone
with relatively small areas of dark and light tones. The composition situates the lightest light and
the darkest dark in the focal area where they should be.

http://www.artnet.com/artists/fernando-cueto-amorsolo/lavendera-a-Jq3qFUygFKL93H3LdW8LaQ2

a. Name: Lavandera, 1936

 Description:
This painting comes with a certificate of authenticity from Sylvia Amorsolo-Lazo, the artist's
daughter and studio assistant

b. Brief historical background

c. Artist : Fernando Cueto Amorsolo

d. Materials used : 21 x 18 in. (53.3 x 45.7 cm.), Oil on panel
Techniques: natural and backlighting techniques