Binmaley Catholic School, Inc.

Binmaley, Pangasinan
S.Y. 2020-2021

Senior High School

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LEARNING MODULE 2

LESSON 3 : CONTEXTS OF ART

Learning Objectives:
a. Understand the different contexts by recalling and analyzing how it applies to a familiar or
community-based art form;
CONTEMPORARY PHILIPPINE ARTS FROM THE
b. Interpret appropriation and the notion of decontextualization through activity.

REGIONS
Key points:

Context
Different Contexts of Art
 Artist’s background
 Nature
 Everyday life
 Society, Politics and Economy, History
 Mode of Reception
 Read me 

Context refers to settings, conditions, circumstances, and occurences affecting creation or

reception or audience response. It is a set of background information that enables us to formulate
meanings about works of art and how context affects form.

What are the different contexts of art?

We can learn to look at art in a critical manner by understanding its contexts. As we saw in the
previous lessons, art is anchored in a particular historical moment and grounded within a set of
specific conditions. The contexts being discussed below are some examples that may shape our
understanding of works of art. The contexts affecting production and reception are active (as
opposed to single and definitive) and tend to overlap.

a. Artist’s background
The artist’s age, gender, culture, economic conditions, social environment, and
disposition affects creation. The mode of production which encompasses the kind of
materials accessible to the artists as well as the conditions surrounding labor, affects the
work produced by the artist.

Some artists deliberately foreground their cultural identity in their works. The Tausug
National Artist Abdulmari Imao integrated motifs from the culture of Mindanao, like the
mythical sarimanok, a rooster carrying a fish on its beak; and other okir designs in his
paintings and sculptures using modernist styles of figuration. An example is the 1984
stylized S-shaped brass sculpture fronting the Vargas Museum, which integrates motifs
such as the crescent moon and star; as well as the okir. The Talaandig artists from
Bukidnon on the other hand, express their affinities with their land by using soil insteadof
pigments and by painting subject matter that are grounded on their present concerns as a
people.

Julie Lluch, an artist who hails from Iligan city, would often emphasize her female
identity and personal experiences in many of her terracotta works. In Cutting Onions
Always Makes Me Cry, 1988. Lluch’s self portrait is presented as an expressive tableau,
where she performs her role as a woman compelled to undertake a routine domestic
chore.
b. Nature

Nature can be seen as a source of inspiration and a wellspring of materials for art production.
The t’nalak for example uses abaca fibers stripped from the trunk of banana tree, and colored
with red and black dyes naturally extracted from roots and leaves of plants. Using a backstrap
loom, the weaver produces t’nalak designs including stylized forms inspired by nature: kleng
(crab), gmayaw (bird in flight) , tofi (frog), and sawo (snake skin). As with traditional textile
traditions in the Philippines, the process of making the t’nalak is evocative of the people’s
belief that spirits reside with people in the natural environment. We may also observe that
many of Philippine indigenous dances involve the imitation of natural elements, such as the
waves of the waters or the movement of animals – from birds to fishes, to snakes to fireflies,
among many others. An example is the famous tinikling, which imagines the tikling – a local
bird – as it tries to escape the field traps set by farmers.

c. Everyday Life

Philippine traditional art has always been an integral part of daily life. Its significance lies not
only in its aesthetic appearance but also in its functionality and its resonance to the
community that produced it. Because traditional forms may also be used in daily private
situations, it is experienced more intimately, and engages many senses simultaneously. Some
examples include the crisp Ilocano bed cover with dainty ubas designs or the pabalat, delicate
pastillas wrappers from Bulacan with elaborate cutout designs, enveloping an equally
delicate milk-based dessert.

The senses of touch, taste and smell are engaged along the visual sense.
 Pabalat

d. Society, Politics and Economy, History

Although art is a form of expression, we discern that throughout its history, the works are
not always created out of the artist’s full volition. As we have learned in the previous
lessons, the artist’s creative prerogative is affected if not compromised by patronage,
such as of the State or the Church. The communicative and evocative potentials of art
have been harnessed to support the colonial order, as exemplified by the proliferation of
religious art during the Spanish Colonial Period.

e. Mode of Reception
Aside from considering our personal identity as a perceiver of art as well as the contexts
discussed above, it is also important to note when, where, and how we encountered it.
Most often, art is encountered via the museum; arranged and categorized before a public
for the purpose of Education and leisure. Owing to its longstanding history as an
institution that exhibits art or other objects of value.

Learning Activity 1
 Directions: In using concept map, explain the different contexts of art.

Learning Activity 2

Directions: Make your own slogan about the importance of art in our everyday life.

Post-Test

What happens when an art object is given another context?

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Assignment ( For advanced reading)

1. What is GAMABA?
2. Who are the GAMABA Awardees?

LESSON 4: THE CONTEMPORARY IN TRADITIONAL ART: GAWAD

SA MANLILIKHA NG BAYAN (GAMABA)
Learning Objectives:

a. Explain how tradition becomes contemporary and vice versa through the practices
of artist awardees of Manlilikha ng Bayan Awards of Gamaba;
b. Create a work that promotes traditional art;
c. Understand the value of traditional art.

Key Points:

GAMABA (Gawad sa Manlilikha ng Bayan)

GAMABA awardees
Tourism
Mining and Infrastructure Project
Militarization
Christianization

Read me 

How does tradition become contemporary, and the contemporary traditional?

Teofilo Garcia, a 2012 awardee is a farmer in the town of San Quintin better known for tending a
plot of land filled with enlarged upo or gourd. After planting the upo in November and
harvesting the mature fruit during the summer months of March to May, Garcia would transform
the harvest into durable hats protecting people, especially farmers exposed for long hours under
the heatof the sun. each upo or tabungaw (in Ilokano) is hollowed out, polished, and varnished
which gives the tabungaw hat a distinctive yellow sheen. The varnish also strengthen the organic
material to make it weather resistant. Thin strips of rattan or uway are woven to line the hat,
while another type of intricate weave, usually made of fern or nito, is placed on the mouth of the
hat as decoration.simple hand tools are used to gouge the insides of the Tabungaw.

What is GAMABA?
Garcia has been named Manlilikha ng Bayan (“One who creates for the country”) or
National Living Treasure. Twelve individuals have received this distinction from the time
 the establishment of the award in 1992 until 2012. The award was instituted by the
National Commission For Culture and the Arts (NCCA) through Republic Act no. 7355.
NCCA bestows the highest award for culture and the arts, like National Artist
Award(NAA). The said award and the GAMABA recognizes the outsanding work of
afrtists in the Philippines.
Traditional art is based on indigenous people’s cultures that have enlargely
honed by oral tradition.a distinct feature of the GAMABA is its emphasis on the
intangible and communal aspects of art production, which as pointed out on Lesson 1, is
closely aligned with the process-based and collaborative inclination of some
contemporary art practices.

Who are the GAMABA awardees?

LANG DULAY 1998
SALINTA MONON 1998
DARHATA SAWABI 2005
HAJA AMINA 2004
MAGDALENA GAMAYO 2012
GINAW BILOG 1993
MASINO INTARAY 1993
SAMAON SULAIMAN 1993
ALONZO SACLAG 2000
FEDERICO CABALLERO
UWANG AHADAS 2000
EDUARDO MUTUC 2004
TEOFILO GARCIA 2012

The following factors affect the traditional artist’s production process.

o TOURISM :
Land areas are converted into sites for tourist consumption

o MINING AND INFRASTRUCTURE PROJECTS :

The construction of dams and the establishment of oil and mining companies evict people
from their dwellings and severely damage the environment.

o MILITARIZATION :
The insecurity and tensions brought about by militarized zones of arrest the people’s
ability to create art.

o CHRISTIANIZATION:
The influence of Christianity and the conversion of the natives to a foreign religion have
caused members of the community to forsake their indigenous rituals and traditions.

Learning activity 1.
 Directions: Cite 10 famous artists in the Philippines and discuss their background and their
artwork. Write your answer on the space provided for.

ARTISTS ARTWORK Background

Learning Activity 2.
Directions: Using the box provided below, draw your own traditional art and assume that you are
one of the GAMABA awardees. You can use any art materials.
 MY REFLECTION

Prepared by: Reviewed and checked by: Noted by:

Debbie Joyce D. Quimson Antonette A. Aquino Merlita A. Liwanag

Subject Teacher SAC- Araling Panlipunan SHS Assistant Principal

Approved by:

Melissa M. Soriano, Ed.D

School Principal

References
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