UNIVERSITY OF MAKATI

J. P. Rizal Ext., West Rembo, Makati City

HIGHER SCHOOL NG UMAK
DEPARTMENT OF SOCIAL SCIENCE
Course Title Title
CONTEMPORARY PHILIPPINE ARTS Module No. 4
The Contexts of Art
FROM THE REGIONS
1. understand the concept and different contexts of art;
2. research the different contexts on the various contemporary art
Learning Objectives form; and
At the end of this lesson, the students should be able to:
3. explain the contexts of art by recalling and analyzing how it applies
to a specific artwork.

What is the context of art?

What are the different contexts of art?
The previous module explained the brief art
historical review of the Philippines. We understand
that art does not have one single context but
multiple and varied contexts. History is one crucial
context that was discussed in the last module.
INTRODUCTION

In this module, you will learn more about context

and different contexts of art. It is vital that we
determine various contexts to grasp art's
complexity and diversity better. The context
consists of all things about the artwork that might have influenced the work of art or the artist.
In addition, recognizing contexts may aid us in acknowledging art's role in its interaction with
society's active forces in the social, political, economic, religious, and historical aspects of life, to
name a few.
Art draws inspiration from society, and at the same time, art is developed by the specific
conditions that stimulate its creation. Examining and analyzing its contexts allows us to establish
the linkage of art and society and acknowledge the ability of context to serve as an agent of
change. Furthermore, it enables us to critically look at some widely-held ideas on culture and
reexamine them from a viewpoint grounded on a diligent study of specific contexts.

What is Context of Art?

Context refers to settings, conditions, circumstances, and occurrences affecting production and
reception or audience response to an artwork. It is a set of background information that enables
us to formulate meanings about works of art and note how context affects form (Datuin et al.,
2016).
To illustrate, in the previous lesson, you learned about the
bulul, an indigenous, pre-colonial ritual object and motif in the
daily life of the Ifugaos of the Cordillera region. A human-like
figure created of hardwood, the bulul is considered a granary
CONTENT

god (anito) that guarantees the community an abundant

harvest. In the dry season, the mumbaki or ritual specialist
would perform a ritual where the figure is soaked in pig's blood
as a form of offering to the spirits. Even though the bulul has
elements of sculpture for its makers and by the people who
carry on to find value in its rich symbolic functions, they do not Bulul by the Ifugao
exactly consider it as such.
Many remarkable bulul collections were viewed by locals and tourists, like in storage at Hiwang
Village, Banaue, Ifugao, H. Otley Beyer Museum, and at the BenCab Museum in Baguio City.
Though ancient in origin, we can see that the bulul remains contemporary in form as it continues
to be made by artists and appreciated by many people even today. However, the
contemporariness context of it is still rooted in its ancient origin.

COMPILED BY: GENALYN F. MARQUEZ

FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022
 Meanwhile, a contemporary artist Gaston Damag showcased a
different context of the bulul in the exhibition system, gallery,
or museum context displaying its aesthetic value rather than
its functional value. His artworks utilized the bulul and other
ordinary objects as subject matter from his native Ifugao
homeland. To set up installations in museums and galleries in
different parts of the world, he often used industrial materials
and processes with traditional bulul imagery. In the example,
Installation and Sculptures
the bulul's context shifts from functional to aesthetic value. by Gaston Damag in Hong Kong 2015

Now, let us pause and find time to reflect on the following questions:
1. What happens to an object or artwork when removed from its original context
and changes function?
2. How does the context of the bulul change when it is presented in a museum?
3. When an original artwork like the bulul is combined with other fabricated
materials and displayed in a contemporary art museum, how does the
audience or viewer's perception of the bulul change?
The given questions prompt us to think about artworks' origin, circulation, and production
contexts. They also suggest that the practices involved in disseminating or exhibiting art might
influence our perception of the artwork. Therefore, the answers to the questions can assert that
no single narrative and definition of context of art can apply universally. The multicultural
character of the Philippines requires a broader understanding of factors that determine art-
making, such as people's worldviews, communal structures, and lifeways. Therefore, we could
stress that it will be a mistake comparing and critiquing artworks coming from different contexts.
What are the Different Contexts of Art?
To understand the different contexts of art, we must learn how to look at art critically. We learned
CONTENT

from the previous modules that art is anchored in a particular historical moment. In addition, art
is also placed within a specific set of conditions. The different contexts explained below are some
examples that may help improve our understanding of works of art.
a. Artist's Background
It is important to know the artist's age, gender, culture,
economic conditions, social environment, and
disposition which affect art production. The mode of
production, which encompasses the kind of materials
accessible to the artists and the conditions surrounding
labor, also hopes for the work produced by the artist. "Naked Truth" by Willy Layug in 2018

For example, a traditional artist's resources differ from an artist raised in a highly urbanized
environment like Makati. The artist's training and introduction in art might be different as
well. For example, the artist may have trained and studied through formal schooling or
informally through workshops or apprenticeships. In other cases, they may have studied
art by themselves.
In the town of Betis, Pampanga, sculpture-making is
learned informally through an apprenticeship with a
matecanan mandudukit or a master sculptor who
maintains a workshop where young people are trained to
make santos. This is in contrast to the formal schooling
Apprentice Sculptor in Betis, Pampanga
had by Mr. Willy Tadeo Layug, a Fine Arts Graduate at the
University of Santo Thomas. He is a sculptor from Betis,
Pampanga as well, and on the picture, he is putting the
finishing touches on the life-sized wooden sculpture of the
Virgin Mary he made in October 2014. Though the
mediums, techniques, and styles in the traditional art of
sculpting are shared with the likes of Mr. Layug, who grew
"Virgin Mary" by Willy Layug in 2014
up in the same province, it is noticeable that the end
products made by them have distinct qualities different from one another. Thus the
perception of the people viewing the sculptures may vary as well.

COMPILED BY: GENALYN F. MARQUEZ

FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022
 Some artists deliberately emphasize their cultural identity
in their works. For example, Abdulmari Asia Imao, a
Tausug and 2016 National Artist awardee who integrated
the motifs of their culture in Mindanao with his works of
art. 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. Another
example is the 1984 stylized S-shaped brass sculpture
fronting the Vargas Museum, which integrates motifs like Sarimanok by Abdulmari Asia Imao

the crescent moon, star, and okir.

Julie Lluch, an artist who hails from Iligan City, often
emphasizes her female identity and personal
experiences in many of her terracotta works. For
example, in Cutting Onions Always Makes Me Cry,
1988, Lluch's self-portrait presents cooking-a role
Cutting Onions Always Makes Me Cry associated with women in the home-as oppressive
by Julie Lluch in 1988
and unpleasant.

Travels, training, and professional development widen the artist's perspectives. For
example, the exposure of the National Artist and painter Victorio Edades to the
International Exhibition of Modern Art in 1913 profoundly made an impact on his artistic
vision and style.

b. Nature
The Nature Context is seen as a source of inspiration and a
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principal source of materials for art production. For example,

the t'nalak uses abaca fibers stripped from the trunk of the
banana tree and colored with red and black dyes naturally
extracted from the roots and leaves of plants. The weavers
produce t'nalak designs by using a backstrap loom and
stylized forms inspired by nature like kleng (crab), gmayaw
(bird in flight), tofi (frog), and sawo (snakeskin). In addition,
the process of making the t'nalak is suggestive of the
people's belief that spirits reside with people in the natural
T’nalak by the T'boli
environment.
We may also observe that many Philippine indigenous
dances involve the imitation of natural elements, such as the
waves of the waters or the movement of animals and many
others. An example is the famous tinikling dance, which
portrays the native tikling bird trying to escape the field traps
set by farmers. Native Tikling Bird

Nelfa Querubin-Tompkins, a ceramist, experimented with iron-rich San Dionisio clay

obtained from her hometown Iloilo. The coarse clay is prepared by mixing it with river sand
and lead glaze to create elegant black pottery.
Another good example is the Batanes' traditional lvatan
houses are built using stones and fango for their walls. The
latter is a kind of mortar formed by combining cogon and
mud bits. The roof is a pyramidal construction comprised of
a thick cogon thatch fastened by reeds and rattan and
sometimes reinforced with a net as protection from harsh
winds. The stone, lime, and cogon construction protect the
dwellers from strong typhoons and earthquakes.
Ivatan House in Batanes

COMPILED BY: GENALYN F. MARQUEZ

FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022
 Junyee's short-lived installation art at the grounds of the
CCP titled Angud, a forest once in 2007, was posed as
commentary on the abuse of nature. It involved 10,000
pieces of gathered tree stumps in recreating a
deforested landscape. Similarly, photographers alert the
public about the alarming effects of climate change and
how it forces people to become "refugees in their own
land." One such photographer is Veejay Villafranca. His
series of images may be viewed from this website:
Installation Art “Angud” by Junyee
http://www.veejayvillafranca.com.
While nature is considered a provider and source of inspiration, it is crucial to note that
nature is also seen as a force one must deal with. Therefore, the availability of resources
for construction is not the only factor that should be considered but as well as the
environmental conditions such as topography and climate.

c. Everyday Life
Philippine traditional art has always been a vital part of our
daily life. Its essence rests not only in its aesthetic value but
also in its functional value to the community that makes and
produces it. Because traditional forms may also be used in
daily private situations, they are experienced more intimately
and simultaneously involve many senses. For example is 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
Pabalat or Pastillas Wrapper
engaged with the visual sense.
CONTENT

Changes in landscape, innovations in technology, and

popular media have dramatically influenced our
connections and the way we live. Artists working in the
contemporary idiom have been increasingly drawn to
scenes, objects, and issues in everyday life. Some would
link inspiration from personal memories and reveal its
features emotionally. Marina Cruz's works are associated
with old photographs and things like worn clothes. She
“Flowers Floating on Fabric”
recreates these artworks by enlarging their image through
Painting by Marina Cruz painting or sculpting.
The works of the Cavite-based artist Lirio Salvador fuse easily
accessible objects like machine discards, bicycle parts, and
kitchen implements to form an assemblage. He would often
include synthesizers and guitar strings to convert these
artworks into functional instruments. One critic has referred
to these objects as sound assemblages. The unique forms that
look like figures drawn from science fiction are actually as
common as the everyday items that compose these
assemblages. These can be displayed in galleries, and we can “Sandata ni Shiva”
Assemblage by Lirio Salvador
also find these being used in performances.

d. Society, Politics and Economy, and History

Although art is a form of expression, we understand that throughout its history, the works
of art are not always created out of the artist's full intention. As we have learned in the
previous modules, the artist's creative process is affected by institutions, such as the State
or the Church. Art's communicative and suggestive potentials have been devoted to
supporting the colonial order, as exemplified by the proliferation of religious art during the
Spanish colonial period.

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FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022
 Art was also utilized to advance a political agenda, as in the case of edifices built during the
Marcos regime. However, we will also discover how the language of art has been employed
to assert the artist's creative agency, resist ideological structures, inspire people, and
initiate change.
Changes in society, politics, and the economy affect artists' work and the structures that
support their production. For example, the 19th century was a period that brought much
economic prosperity to a segment of Filipinos who later became the elite. This started the
development of secular art, which identified the affluent Filipinos as the new art patrons.
As a result, the art of portraiture became very popular as it demonstrated the wealth of
the sitter (subject) or their important stature in society.
Technological innovations cause shifts in artistic
production as well. For example, photography became
accessible to local photographers in the early 20th century
because Kodak launched a shop in the Philippines in 1928.
Photography fulfilled documentary and artistic functions,
serving as an alternative to painting since it is easy to
reproduce and an affordable form of portraiture for the
people. We can also look at the technology-dependent
cinematic arts as an example. The first film ever to be
directed by a Filipino Jose Nepomuceno in 1919 was based
on the play Dalagang Bukid by Hermogenes Ilagan and “Dalagang Bukid”
Leon Ignacio. The film integrated technology and added Film by Jose Nepomuceno
elements such as music and moving images.
We can think of art as a document that gives us clues about
the historical conditions surrounding its production and as
CONTENT

a means to re-tell history itself. For example, the painting of

National Artist Benedicto Cabrera (BenCab) titled Brown
Brother's Burden circa 1970 approximates the look of an old
photograph that presents an aspect of colonial history from
the gaze of the colonized. Suppose we were to look at the
jeepney on the other hand. In that case, we will see that its
style of ornamentation, reminiscent of folk characteristics,
“Brown Brother’s Burden”
has practically erased its roots as a postwar vehicle. Painting by BenCab

The said technique of transforming existing materials through the juxtaposition of

elements taken from one context and placing these in another to present alternative
meanings, structure, and composition is called appropriation. This technique helps present
alternative meanings, structure, and composition to an artwork.

e. Mode of Reception
Aside from considering our personal identity as a perceiver of art and the contexts
explained above, it is also important to note when, where, and how art is encountered.
Most often, art is experienced via the museum, arranged and categorized before the public
for the purpose of education and leisure. Owing to its longstanding history as an institution
that exhibits art or other objects of value, we automatically assume that what is shown
here is of value. However, the museum's power lies in its ability to construct knowledge
for us.
Reception is very much affected by our level of exposure
to art forms that may be unfamiliar or have startling or
shocking images. For example in 2010, Mideo Cruz rose to
national prominence or notoriety, depending on your point
of view, over his work Poleteismo at an exhibit titled Kulo
or boil at the CCP. His installation, which featured a
sculpture of Christ with a phallus on his nose, among other
provocative elements, shocked a vocal segment of the “Poleteismo”
Exhibit by Mideo Cruz

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FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022
 Filipino public. This reaction was not only incited by the imagery, but the
circumstances surrounding the work also fueled the controversy. The reproductive
health law was at the center of public discussions at the time; the media linked the
work to the issue without proper framing about process and meaning. As a result,
the more visual and media-savvy interpretation of the work became the dominant
reading of the piece. The attitude toward the issue and the public's reactions are
symptomatic of many art education deficiencies in schools, homes, and the media.
Thus, instead of a sober discussion and raising of questions, the issue worsened into
name-calling and grandstanding. It is also notable that social media played a part in
stoking fires. Unmoderated comments, tweets, and statuses created a free for all
forum that encouraged opinionated shooting from the hip reactions instead of more
CONTENT

knowledgeable and cautious reflections. The artist's age, gender, culture, economic
conditions, social environment, and disposition affect production as well as the
reception.
Summary
There are different contexts or conditions that affect how art is produced, received,
and exchanged. In the first part of the module, we were alerted to how display
practices in museums tend to remove certain forms from their everyday context,
like a ritual object detached from its original use. The artist's personal contexts like
age, gender, and cultural background may profoundly influence the form and
content of their artworks. Larger environments such as nature and the social
environment shape the artist's qualities and access to resources. Lastly, the mode
of reception is a vital context that considers the moment (time and space) by which
we encountered the artwork and how we might respond or engage with it in relation
to our personal experiences and that of the wider public.
ACTIVITY 1 – CONTEXTS OF ART
Instruction:
1. Watch the video B.A.B.A.Y of Yeng Constantino.
Go to https://youtu.be/uV1pPkTTPLU.
ASSESSMENT

2. Search the Internet for all details regarding the song B.A.B.A.Y.
3. What is the context behind the song B.A.B.A.Y? Discuss the different contexts of art. And
If the type of context does not exist in the song, explain why.
a. Artist's Background
b. Nature
c. Everyday Life
d. Society, Politics and Economy, and History
e. Mode of Reception

INDIVIDUAL ACTIVITY:
1. Choose a piece of contemporary Filipino artwork. It could be a painting, sculpture, music,
film, etc.
ASSIGNMENT

2. Search the Internet for all details regarding the artwork.

3. Discuss the different contexts of that artwork. And If the type of context does not exist
in the piece you had chosen, explain why.
a. Artist's Background
b. Nature
c. Everyday Life
d. Society, Politics and Economy, and History
e. Mode of Reception
REFERENCE

1. Datuin, F. M., Paulino, R., Ramirez, E. L., & Marcelino, L. (2016). Contemporary Philippine
Arts from the Regions. REX E-Store. Rex Book Store. Retrieved January 29, 2022, from
S

https://estore.rex.com.ph/.

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FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022
 2. Banal, R. (2017, December 13). Pampanga sculptor Layug's Wood and marble nudes on exhibit
in Intramuros. GMA News Online. Retrieved February 5, 2022, from
https://www.gmanetwork.com/news/lifestyle/artandculture/636437/pampanga-sculptor-
layug-rsquo-s-wood-and-marble-nudes-on-exhibit-in-intramuros/story/
3. Damag, G. (1970, January 1). Gaston Damag: Resemblances, 2015. Art Basel. Retrieved
February 5, 2022, from https://artbasel.com/catalog/artwork/22903/Gaston-Damag-
Resemblances
4. De Leon, F. M. (2015, May 14). In Focus: Philippine Arts in Context. National Commission for
Culture and the Arts. Retrieved February 5, 2022, from https://ncca.gov.ph/about-culture-and-
arts/in-focus/philippine-arts-in-context/
5. Department of Education. (2018, September 28). K to 12 Senior High School Core Curriculum –
Contemporary Philippine Arts from the Regions Curriculum Guide. Deped LR Portal. Retrieved
January 15, 2022, from https://lrmds.deped.gov.ph/detail/14507
6. Department of Education. (2020, December 31). Contemporary Philippine Arts from the
Regions. DepEd Commons. Retrieved January 15, 2022, from
REFERENCES

https://commons.deped.gov.ph/documents? filter%5B category%5D=1535778c-8f7b-41b1-

8c94-73bad00a207b
7. Invaluable, I. (2014). Abdulmari Imao artwork for sale at online auction ... Retrieved February
27, 2022, from https://www.invaluable.com/artist/imao-abdulmari-lmbwm6y241/
8. Ganzon, C. L. C. (2017). Journey: Contemporary Arts of the Philippines. The Phoenix Publishing
House Inc.
9. Klipartz. (2020). Klipartz - all stunning sticker PNG images. Klipartz. Retrieved January 15, 2022,
from https://www.klipartz.com/en
10. Lush, E. (2020, August 2). T'nalak weaving, Philippines. The Textile Atlas. Retrieved February 5,
2022, from https://www.thetextileatlas.com/craft-stories/tnalak-weaving-philippines
11. Madison, K. (2019, November). Introduction to Art Concepts. Lumen. Retrieved February 2022,
from https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/reading-context-is-
part-of-when-and-where/
12. Magalona, E., Zoleta, M. A., & Arlos, A. (2017). Contemporary Philippine Arts from the
Regions. Minshapers Co., Inc.
13. Ramirez, V. E. (2019). Contemporary Philippine Arts from the Regions. Vibal Group, Inc.
14. Vibal. (2020). Contemporary Philippine Arts from the Regions. Vibal Group, Inc.
15. Wikipedia, W. (2022, January 8). Bulul. Wikipedia. Retrieved February 5, 2022, from
https://en.wikipedia.org/wiki/Bulul

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FOR HIGHER SCHOOL NG UNIVERSITY OF MAKATI (HSU) – AY 2021-2022