Contemporary Art ARTURO LUZ (NATIONAL ARTIST) - produced

paintings in 90's and well into 21st hard-edged and

• Democratic, encompassing, and new. abstract minimalist style.

• Art created now; art of the recent times. VICTORIO EDADES

• CON: together/with  Father of Philippine Modern Art

 Initiating the Modern Art movement that
• Tempus: time
challenged the Neoclassic style, which
• Constantly changing, evolving; was dominant that time
continuously reinventing.  Artist in Modern Art

• Contemporary Art is distinguishable from FERNANDO AMORSOLO - THE PALAY MAIDEN

Modern Art in historical, (NEO) (1920)

• Stylistic and cultural terms. VICTORIO EDADES – MORA GIRL (MODERN)

(1950)
• Contemporary Art is never fixed, but open
to many possibilities. H. OCAMPO – MAN AND CARABAO (SOCIO/ NEO)

• To study and appreciate the CESAR LEGASPI – MORNING DANCE (SOCIO/ NEO)
contemporary is to experience and
Imelda Cajipe-Endaya - is a social realist but the
understand art as a window to the
style and medium of installation is markedly
Philippine contemporary life.
different.
Modern VS Contemporary
Contemporary Art (a radical break from tradition)
 Modern art (1880-1960) - is referred to as
 Rejection of traditional canons (rules,
“traditional”, compared to Contemporary
standards, or principles)
Art.
 (normative) (how should people act)
 Contemporary Art (1960) - is the art of
the present, which is continuously in Western art - intellectual and cultural
process and in flux. achievement in the academy and even in the
media.
Neoclassic VS Modern
• Canons have power to give value to art,
 Neoclassic - creates illusions of
suggesting a kind of belief system held by
depthness, nearness and farness
the elite.
 Modern - they change colors and flatten
the picture instead of new looking and • Mix/fusion of artistic practices.
shocking
Art as Pluralistic
Art
 All artistic expressions must be given
- The expression or application of human equal importance.
creative skill and imagination, typically in  Enlightened and democratic society
a visual form such as painting or
sculpture, producing works to be Chronological view
appreciated primarily for their beauty or
emotional power. • Art related to this current period in art
history.
ARTISTS
• Art produced in our era or lifetime.
HR OCAMPO – THE CONTRAST (1960’s)
• Old works of art were once contemporary
XYCA BACANI – MAN IN STAIRS (2000’s) in their own time.

• E.g. the Renaissance were considered first

displayed in 14th century Italy.
 • Contemporary Art “post-modern art” is Site-Specific
considered to belong in art history
• An artwork’s meaning to have a direct
Medium relationship to a specific location where it
is seen or experienced.
• MATERIAL USED BY AN ARTIST
• Changing the location of the work would
• TO EXPRESS HIS/HER FEELINGS OR change the interpretation of its value or
THOUGHTS. meaning.

Visual Arts Collaborative

2D • The end product is created with the

 Painting, photography, involvement of 2 or more artists.
printmaking, drawing
• Collaborative artworks often present
3D multiple perspectives on one main idea:

 Sculpture, architecture,  Spontaneous results

landscape, industrial, designs,  Possess more complex avenues
furniture for analysis.

Social Realism /POLITICAL FUNCTION Interactive

• Art movement started 1970s to the • Audience has the potential to change or
1980s. add to the meaning of an artwork.

• It aims to expose the current Installation - method in which the artist is not
sociopolitical issues by depicting: restricted to a two-dimensional place.

 the reality of the masses Mixed Media

 The struggle of the marginalized • Technique that uses different materials in

the creation of an artwork.
 Inequality
Performance Art
 Forms of repression
• Artist executes an artwork in front of a
Neoclassic live audience.
• An artistic style in Europe from the mid-
1700s to the late 1800s; also called an
Academic Style from the art academies. THE CONTEXT OF AN ARTWORK

Integrative • The historical events occurred at the time

the work was created.
• The artist is free to integrate any medium
and any art form in order to express their • The scientific discoveries or technological
artistic intention. innovations

Process-Based • Artistic and cultural influences

• Emphasizes on how the artist start with • Philosophical ideas of the time that
final product, begins with the informed the art work
development of a concept then proceeds
with realizing the idea. • Intended audience

• Original purpose of the work

Art as Appreciation Artist VS Artisan

• Analysis of the works based on • Artists: dedicated on the creative side,

acknowledged elements of composition making visually pleasing work only for the
and principles of design, through which enjoyment and appreciation of the
enjoyment of the humanities is enhanced. viewer, but with no functional value.

• Principles of Design: balance, emphasis, • Artisan: manual worker, the one who
pattern, repetition, proportion, rhythm, makes the items with his or her hands.
variety, unity.
 Fashion jewelry, forge iron, or
• The pursuit of knowledge and blow glass
understanding.
Encaustic

• The medium for the powdered color is

FUNCTIONS OF CONTEMPORARY ART hot wax which is painted onto a wood
surface with a brush
Arts for Pleasure
• It is then smoothed with a metal
 Provide escapes from everyday concerns instrument like a spook, and then blended
and satisfy the yearning for pleasurable and set over a flame to soften and set the
experiences. colors into the wood.
 Visual delight, enjoyment, and the
element of surprise. • This method produces durable colors and
 Aesthetics: awareness of beauty or to permits sculptural modeling of the paint
that quality in a work of art. surface.
 Art as Mimesis: (Plato) Mimos (to imitate)
 IMITATION, RECEPTIVITY, NON- Fresco secco (“dry fresco”) - a process that
SENSUOUS SIMILARITY, THE ACT dispenses with the complex preparation of the
OF RESEMBLING wall with wet plaster. Instead, dry, finished
walls are soaked with limewater and painted while
Art as Representation (Aristotle) wet.

 Not only imitation but also the use of Plaster - a pasty composition (as
mathematical ideas and symmetry. of lime or gypsum, water, and sand) that hardens
on drying and is used for coating walls, ceilings,
Contemporary Art as Profession and partitions.

• Artists earn a living through their art. Egg Tempera

• Has economic value and gains currency in • Mixed with egg yolk or both the yolk and
a network of exchange. white of an egg.

• Creative industries - refer to industries • It is thinned with water and applied to a

that continue the creation, production, gesso ground (plaster mixed with binding)
and commercialization of creative on a panel.
contents which are intangible and cultural
in nature. • It was also used on parchment or paper to
illustrate or embellish books in the era
• CONTENTS: protected by copyright before the 15th century development of
printing press
• Printing, publishing, multimedia,
audiovisual, phonographic and Mosaic
cinematographic productions, crafts, and
designs • Created by small pieces of colored glass,
stone or ceramic (called tesserae)
embedded in wet mortar which has been
spread over the surface to be decorated.
 • Often used to decorate walls, floors, and Shapes: These are areas enclosed spaces that are
ceilings. two-dimensional. Shapes are flat and can only
have height and width.
PRIMARY CONTEXT (Artist)
Two categories of shapes:
• Attitudes
 GEOMETRIC (MATHEMATICAL, LIKE
• beliefs, CRICLES AND SQUARES)
 ORGANIC (CLOUDS AND LEAVES).
• interests
Space - illusion of depth on a flat surface.
• Values
Value
• education
• LIGHTNESS AND DARKNESS OF AREAS IN
• training
ART WORK
• biography
Color
SECONDARY CONTEXT
 MOST PROMINENT ELEMENT OF DESIGN
• It addresses the external conditions in AND MOST POWERFUL AND YET
which the work was produced SUBJECTIVE ELEMENTS IN ART.

• The apparent function of the work 3 PROPERTIES:

• Religious and philosophical conditions • HUE: NAME OF COLOR

• Socio-political and economic structures • VALUE : HUE’S LIGHTNESS AND

DARKNESS
• Climate and geography
• INTENSITY: QUALITY OF BRIGHTNESS AND
Imagination is about seeing the impossible, or PURITY
unreal.
• HIGH INTENSITY: STRONG AND BRIGHT
Creativity is using imagination to unleash the
potential of existing ideas in order to create new • LOW INTENSITY: FAINT AND DULL
and valuable ones.
Texture
Art as Criticism - It helps us defer our judgment
• The way things fee , or look as if they
process and understand why we respond the way
might feel if touched.
we do.
• The surface quality of an artwork.
 What do you see? (description),
How is the work organized? • It engages sense of touch and vision
(analysis), What message does
this artwork communicate? • Actual texture (sculptural)
(Interpretation), Is this a
successful work of art? • Simulated texture (2D)
(Judgment).
Form

 Is 3D and encloses volume: includes

ELEMENTS OF ART height, width and depth (as in a cube,
sphere, a pyramid, a cylinder).
Line: A mark made upon a surface.
Art History
 Horizontal, vertical , wavy, diagonal
 Three-dimensional, descriptive, implied, • The study of art, past and present and its
abstract. contributions to cultures and society.
 • HISTORICAL developments and stylistic Common Elements of Music
contexts; genre, design, format, and style
• Pitch: governs melody and harmony
• Primary Purpose: to
• Rhythm: (tempo, meter, articulation)
 Establish the timeline
 sustain the systematic sequence • Dynamics: (loudness and softness)
of events in the development of
cultures and traditions of art. • Timbre and texture (“color” of a musical
sound)
Attribution: Where, when, why, and by whom the
work was made? Dance

Authenticity: What scholarly verification is made • It is an art form consisting of purposefully

to document and affirm the attribution of the selected sequences of human movement
work.
Categorized and described by its:
Iconography: What are the meanings of the
• choreography
objects, symbols, and motifs in the work?
• Repertoire movements
Provenance: What is the history of the ownership
of the work ? Who were the previous owners? • Historical place of origin
Function: What was the original function of the • Ballet, folk, indigenous, street, modern,
work? Why was it created? hiphop, popular
Style: What are the remarkable characteristics or Theater
qualities that identify the work?
• Use live performers to present something
Psychology: What personal factors help relate the about human condition or an experience
artist to his or her time and the work to a of a real or imagined event before a live
particular or social or cultural condition? audience in a specific place.
Connoisseurship: How does the intensive study of • Gesture, acting, speech, song, music, and
the work reveal or help resolve the problems of dance.
authorship, ownership, or physical condition.
• Street or protest theater, school plays,
CLASSIFICATION OF ART ritual performance, zarzuela, puppetry, or
stand-up comedy
Architecture
Photography
• It refers to a man-made environment
created as a space for human habitation • The technique of capturing optical
and as a setting for rituals images on light-sensitive surfaces.
• Art and science of erecting buildings. • It is about framing a scene, composition
and lighting, and recording that moment
• It strives to create the ideal environment
with the use of camera.
for human activity.
Fine Art photography: photos with an artistic
• Manipulate and modify spaces to become
statement and selective vision of reality.
meaningful and memorable places to
inhabit Photojournalism: a documentary visual account of
specific subjects and events, representing
Music
objective reality rather than the subjective intent
• Sound and silence organized based on of the photographer.
time.
Commercial Photography: It is focused on creating
• idealized images of products and services for the
purpose of advertising, including food and fashion 2. Kinabua of Mandaya
photography.
- performs swooping movements
imitating the movements of eagle

HISTORY OF THE PHILIPPINE ART 3. Banog-banog of the Higaonon and B'laan

Pre-conquest - Courtship dance that portrays the flight

of the birds
 In art historical terms, “pre-conquest”
 In stylistic terms, “indigenious” 4. Man-manok (Bagobos)
 In cultural terms, “pre-colonial”
- imitate the movements of predatory
Art before - are everyday expressions and were all birds
integrated within rituals
5. Talip (Ifugaos)

- Courtship dance mimetic of the

Art before Colonization movements of wild fowls

Earliest forms of Theater/Rituals 6. Inamong of Matigsalugs and Kadaliwas (T’boli)

1. Mayvanuvanua (Batanes) - represent the comedic movements of

monkey
- Ritual that opens the fishing
season of dibang (flying fish) 7. Tinikling (Tagalog)

2. Cañao or Kanyaw (Codillera - evocative of the movements of the

Autonomous Region) crane balancing itself on stilt-like legs or flitting
away from the clutches of bamboo traps.
- officiated by a shaman or
mumbaki. It involves animal sacrifice Carving
where the entrails are read through a
process of divination 1. Bulul (Cordillera)

3. Kashawing (Lake Lanao of Mindanao)  granary god that plays important role in
rituals
- ritual to ensure abundance during rice  Anthromorphic bulul appears in
planting and harvesting. containers bowls and spoons

4. Tagbanwa (Palawan) 2. Hagabi (Ifugao)

-shamans go into a trance amidst ritual -wooden bench that marks the socio-
chanting and dancing and are believed to be taken economic status of the owner
over the goddesses themselves.
Christianized communities in Paete Laguna and
Ethnic Musical Instruments Betis Pampanga are known for carving santos. In
the Southern Philippines curvilienar decorations
1. Kudyapi - a three stringed guitar called the okir are employed in woodcarving

2. Kulintang- an array of bossed gongs Sarimanok - is the stylized design of a bird holding
a fish in its beak and/or standing on a base in the
3. Gansa- flat gong shape of a fish.

4. Agong- a large bossed gong Naga - has the form of an elaborate mythical
serpent or dragon with a vigorous S-curve and
Native Dance Forms numerous curvilinear motifs to suggest its scales.
1. Pangalay (Sulu) Pako rabong - is a stylized growing fern with a
broad base gracefully tapering upwards.
- Mimetic dance of seabirds
The sarimanok and naga are found in the 1. Tepo Mat
panolong, the extended floor beam, and the
interior beams and posts of the large sultan’s  a colorful double layered mat of Sama of
house called torogan. Tawi-Tawi made of pandan leaves.

The Manunggul Jar, excavated in Manunggul Cave 2. Ovaloid Baskets

Lipunan Point Palawan is dated to the late
Neolithic Period (890-710).It has two  made of nito and bamboo are used as a
anthromorphic or human forms atop the lid. head sling to carry harvest

 During the Metal Age (5 BC-225 AD) 3. Bubo

another type of anthromorphic jars was
 fish traps made of sturdy bamboo strips in
produced the human figure is more
the Ilocos region.
pronounced with lid as the head and base
as the body.
3. Tattoos
Pottery would become more and more associated
with objects for daily use, such as the palayok (clay  Visayas “Islas de los Pintados”
pot) for cooking, and the banga and tapayan (clay  shared by Southeast Asia and New
pot) for storing liquids. In Vigan Ilocos the making Zealand other ethnolinguistic groups that
of burnay pottery continues as a lively tradition. practices tattooing are Kalinga, Kankanay,
Ibaloy and Ifugao
 According to Respicio “textile weaving
has a long history, Philippine 4. Jewelry
ethnolinguistic groups have a rich textile
weaving tradition”  the T'boli in particular are known for
 Textiles are not only functional they also wearing brass chains bells and colorful
impart knowledge about people's belief beads
systems: the reverence for spirits and
nature criteria for beautiful and the 5. Lotoans
society's sociopolitical structure
 betel nut boxes of various shapes
Woven Textiles
6. Functional Containers
1. Pis syabit
 textured design of rhombuses, spirals,
- a headpiece woven by Tausug of Sulu cricles, and tendrils swarm over the
exteriors
2. Malong
7. Brass Kendi and Gadur
-it has exquisite tapestry panels called
langkit woven by the Maranao of Lanao Del Sur  used in ceremonies and are cherished as
status symbols or as heirloom pieces
Pis syabit
II. Islamic Colonial (13th Century to the Present)

Islam was already well entrenched in

Southern Philippine where it continues to be
culturally dominant.

Islam gained significant grounding in Sulu

as early as 13th century.

Sayyid Abubakar of Arabia married Princess

Piramisuli, daughter of Rajah Baguinda. Abubakar
succeeded the throne and established the
Sultanate of Sulu
Weaving
 Quran
  Madrasa Lowland Christian Art

 Tausug  Architecture
 Sculpting Engraving
 Maranao
 Music
 Maguindanao  Literature
 Theater
 Yakan  Visual Art
 Samal

 Badjao Architecture

 Some areas in Palawan 1. Plaza Complex - designed as the town

center and consisted of the municipio or
How art is influenced by Islam local government office and church
2. Cruciform Churches - following the shape
Notion of Tawhid or Unity with God
of the Latin cross churches were built
emphasizes the impermanence of nature 3. Baroque Style - characterized by
and the incomprehensible greatness of the divine grandeur, drama, elaborate details that
Being. purposely appealed to the emotions
 San Agustin Church in Manila,
1. Interior of mosques are covered with elaborate  Morong Church in Rizal,
patterning in the form of reliefs.  Paoay Church in Ilocos Norte
 Sto. Tomas de Villanueva Church
2. Abstract forms and patterns in Miag-ao Ilo-Ilo
4. Colonial Baroque Philippine or Tropical
3. Parts of the Mosque like the mihrab or niche Baroque
and the Qibla wall are oriented toward the west 5. Fusion of both native and European
elements
4. Bulbous Dome expresses all levels of comic
6. To suit the native's sensibilities local
existence Octagonal base symbolizes the spirit
intervention was made.
while the four sided main base refers to the earth
7. The facade of Miag-ao Church features
or material world
St. Christopher surrounded by reliefs or
6. The courtyard or Ka'bah a black shrine believed relleves having tropical motifs life palm
to be built by Prophet Muhammad himself fronds and papaya trees
8. The use of adobe, limestone or brick and
7. The area of water supply serves as the function the construction of thick buttresses or
of ablution or cleansing wing-like projections reinforce the church
structure to make it more resistant to
8. The gardens within the Mosque compound or Earthquakes
even outside homes
Sculpting and Engraving
9. Islamic forms are incline to project, grow or
have an upward orientation 1. Santos - from Western model to Chinese
features and techniques with Greek and
 Panolong an elaborateoly carved Roman classical influence
protusion akin to a wing attached to the 2. Retablo - Integrates architecture and
torogan sculpture and is often embellisehed with
 Luhul or canopy that takes inspiration rosettes, scrolls, pediments and
from the tree of life solomonic columns which may be gilded
or polychromed
10. Burraq, a horse with the head of a woman, is 3. Via Crucis - series of 14 paintings or relief
also an important figure structures depicting Christ's crucifixion
resurrection
4. Trompe l'oeil - a French word meaning
SPANISH COLONIAL (1521-1898) “fooling the eye” it refers to painting that
 give a heightened illusion of three- Processions - Earliest forms of theater were
dimensionality replaced bythe pomp and pageantry of religious
5. Relleves - Carved figurative protusions processions complete with embellished carrozas
6. Plateria - organic designs of hammered containing religious tableaus of Catholic saints and
silver scenes from the Bible

Music Zarzuela - A popular form of musical theater from

Spain imported during the 19th century it is an
1. Western Musical - Instruments opera which feautes singing and dancing
Pipe organ violin guitar piano interspersed with prose dialogue which allowed
2. Catholic Lithurgical Music - Introduced in the story to be carried out in song
1742 by the then Archbishop of Manila
Juan Rodriguez Angel Senakulo - Written in 1704 by Gaspar Aquino de
3. The Santo Domingo and San Agustin Belen its narrative was culled entirely from the
convents taught choral music to young Biblical account of Christ's passion and death on
boys including Filipino composers like the cross adapted into verse form and translated
Marcelo Ardonay (1848-1928) into local language.
4. Pasyon or Pabasa - Biblical narration of
Christ's passion chanted in improvised Komedya - Depicts the conflict between the
melody Muslims and Christians.
5. Awit and Corrido - Musical forms were
chanted stories based on European 1. Komedya de Santo or Religious Komedya
Literature and history
2. Secular Komedya
6. Balitao - Sentimental love songs
7. Kundiman - usually spoke of resignation -Moro-moro
and fatalism became a vehicle for
resistance Folk Music and Dance
8. Kundiman ni Abdon - a kundiman which
became a feature of protests actions  cariñosa
against Martial Law and Bayan Ko  pandango
 polka dansa
Literature  riodon
Among Mangyans of Mindoro bamboo Secular Art
poles are turn into smaller nodes and are etched
with Baybayin used to compose short poems of 1. Carta Hydrographica y Chorographica de
courtship and emotional concerns las Yslas Filipinas - The first scientific map
of the Philippines
In Ticao Leyte a huge stone was - In 1734 the Jesuit Priest Fr. Pedro Murillo
discovered that contained baybayin writing Velarde collaboarated with artists
believed to be an invocation for a safe journey by Francisco Suarez and engraver Nicolas de
sea. la Cruz Bagay to make Carta
Hydrographica y Chorographica de las
Cathecism and Prayer books Yslas Filipinas they were the first to
acknowledge their role as artist.
2. Flora de Filipinas - an extensive
Theater compilation of Philippine plants by
Augustinian botanist Fr. Manuel Blanco
Religious Processions
Visual Arts
 Zarzuela or Sarsuwela
1. Heaven, Earth, and Hell (1850)
 Senakulo
a mural by Jose Dans in Paete Church
 Komedya Laguna

 Moro-moro 2. Two versions of San Cristobal

 3. Basi Revolt Esteban Villanueva Eduardo Mutuc - An artist from Apalit, Pampanga
who has dedicated his life creating religious and
4. Two versions of San Cristobal secular art (malayo sa religion) in silver, bronze,
and wood.
5. Basi Revolt Esteban Villanueva
Haja Amina Appi - Recognized as master Sama
Religious art persisted like: mat weaver among the Sama indigenous
community for her unique designs , straightness of
✣ Viriña - a bell shaped glass where santos
her edging (tabig), and fineness of her sasa and
are placed
kima-kima.
✣ Urna - a humble domestic version of
Sama (Austronesian root word:
retablo often attributed to the artists of
Together) the binding of leaves and grasses that
Visayan region
go into a banig. (locally called “tepo”) It is made
Paintings from pandan leaves

1. Miniaturist Style - meticulous details that Alonzo Saclag - A Kalinga master of dance and the
signify the wealth and refinement of the performing arts who mastered not only the
sitter Kalinga musical instruments but also her dance
2. Portrait of the Quiazon Family 1800 patterns and movements associated with her
documents the family's affluence: the people’s ritual.
magnificent interior of the family's house,
Federico Caballero - A Sulod Bukidnon epic
the mother's jewelry the delicate fabric
chanter from Kalinog, Ilo-Ilo who ceaselessly works
and embroidery of their clothing and
for the documentation of the oral literature,
their dignified poses
particularly the epics of his people.
3. Letras y Figuras (Jose Honorato
Lozano) - combining names of individuals Uwang Ahadas - A Yakan Musician who is a master
and vignettes of everyday life of the kwintangan, kayu, and tuntungan
4. Academic Paintings - championed instruments.
European academic styles
5. Features chiaroscuro or the play of light Lang Dulay - A T’boli traditional weaver of T’nalak
and the dark and the contrast between or T’boli cloth made of colorful abaca fabrics
them to heighten the compositon's sense
of drama Salinta Monon - A Tabanua Bagobo traditional
6. Virgenes Christianas Expuestas Al weaver of distinct abaca fabrics called inabal.
Populacho currently on long-term loan to
National Art Gallery in Singapore is a part Ginaw Bilog - Is a Hanunuo Mangyan poet who is
of the Metropolitan Museum of Manila or considered as a master ambahan poetry.
MET Collection
7. España y Filipinas is at the Lopez Museum Masino Intaray - A farmer, a musician, and a
8. Genre Paintings - painting of scenes from babaylan. A prolific and pre-eminent epic chanter
everyday life, of ordinary people in work and story-teller recognized for his outstanding
or recreation, depicted in a generally mastery of various traditional musical instruments
realistic manner. of the Palawan people such as basal, kulilal, and
9. Simon Flores' Primeras Letras 1890 bagil.

Painters:

 Antonio Malantic
 Isidro Arceo,
 Dionisio De Castro,
 Justiniano Asuncion GAMABA

• National Living Treasures

Ethnic or Traditional
• Awardees of Gawad sa Manlilikha ng
Darhata Sawabi - A Tausug weaver of Pis yabit, Bayan from NCCA (National Commission
the traditional cloth tapestry worn as a head cover. for Culture and the Arts
 • Produce arts that are woven into  Eduardo Mutuc (2004) kapampangan/
everyday life. apalit pampanga, central Luzon [silver
plating of religious & secular arts]
WHAT IS THE GAMABA?  Teofilo Garcia (2012) ilocano/ san
(Gawad sa Manlilikha ng Bayan) quintin, abra, n. luzon, n. phils.
• 12 Individuals have received this THE PRODUCTION PROCESS & THE CHANGING
distinction (1992) R.A. 7355 until 2012 ENVIRONMENT
• This art recognizes the outstanding work • Tourism
of artists in the Philippines. • Mining & infrastructure projects
• Emphasis on intangible & communal • Militarization
aspects of art production. • Christianization

• Traditional arts find deep affinities with National Artist

nature, place, society, ritual, and
everyday life. R. A. 7356: NCCA (DEPARTMENT OF CULTURE)

Who are the GAMABA Awardees? • It created the NCCA (National Commission
for Culture and the Arts). It is the lead
WEAVING coordinating body among the cultural
institutions , empowered by the virtue of
 Lang Dulay (1998) T’boli, Lake Sebu, Executive Order No. 80.
S.Cotabato, Mindanao, Southern Phils.
 Salinta Monon (d. 2009) Tagabawa, • Executive Order No. 80:
Bagobo, Bansalan, Davao del Sur, s.e.
Mindanao – Cultural Center of the Philippines
 Darhata Sawabi (d. 2005) (2004) tausug,
sulu, s. philippines – National Historical Commission
 Haja Amina (d. 2013) (2004) of the Philippines
sama/tandubas, tawi- tawi, s. philippines
– National Museum
 Magdalena Gamayo (2012) ilocano/pinili,
ilocos norte, n. luzon, n. philippines – National Library of the
LITERATURE & PERFORMING ARTS Philippines

 Ginaw Bilog (d. 2003) (1993) hanunoo – National Archive of the

mangyan/ mansalay, oriental mindoro, Philippines
central phils.
– The NCCA: the overall policy
 Masino intaray (d. 2013) (1993) palawan/
making, coordinating, and
brookes points, central phils. [lyrical
grants-giving agency for the
poems; playing their accompanying
preservation, development and
instruments; epic chanting, story telling]
promotion of Philippine Arts and
 Samaon sulaiman (d. 2011) (1993)
Culture
maguindanao/mamasapano, western
mindanao, s. phils. [playing kudyapi] NEFCA
 Alonzo Saclag (2000) kalinga/lubuagan, n.
Luzon, n.phils. [playing kalinga musical • NCCA also executes the task it formulates.
instruments, dance pattern &
movements w/ rituals] • National Endowment Fund for Culture
 Federico Caballero (2000) sulod and the Arts– a permanent fund
bukidnon/ calinog, ilo-ilo, panay island, exclusively for the implementation of
central phils. culture and art programs and projects.
 Uwang Ahadas (2000) yakan/lamitan,
basilan island, s. philippines • Art Contest, they are the one that gives
prizes
PLASTIC ARTS
CULTURAL CENTER OF THE PHILIPPINES
  CCP Sentrong Pangkultura ng Pilipinas • Philippine High School for the Arts (PHSA)
in LB, Laguna (visual arts, creative writing,
 NATIONAL MUSEUM (NM)
theatre arts, dance, and music)
 National Historical Commission of the
Philippines (NHCP) Collective and Artists Organizations

National Artist Award (NAA) – the highest form of • Composed of individuals who share
recognition to Filipino artists for their significant similar or related practices
contributions in the arts and letters. The award is
conferred every three years. • The Anino Shadow play Collective, formed
in 1996, is a group of multimedia artists
National Artist Award committed to popularizing the art of
• Established in 1972 shadow play.

• First recipient was Fernando Amorsolo Non-government and academic sectors

• 66 awardees were included from several • The Tanghalang Ateneo

disciplinal areas. (Architecture, Design
and allied arts, Film, Visual arts, – both Filipino plays and
Literature, Dance, Music, and Theater) adaptation of classic

Artists • Teatro Tomasino

Guillermo Tolentino Oblation, 1935 (awarded – original plays written by students
1972)
• Dulaang UP
Benedicto Cabrera Variations of Sabel, 2015 -
Made of aluminum sheets can also be found at the – Both English and Filipino, original
up theater. plays written by Filipinos, and
even traditional sarswelas.
Napoleon Abueva Spirit of business, 1979

Nick Joaquin A Portrait of the Artist as Filipino, Visual Arts

1950 (awarded 1976) - Story revolves around a
• Museums are traditionally based on a
painting of the same title dedicated by a crippled
collection of objects.
artist to his unmarried daughters, Candida and
Paula. • Tasked to preserve heritage for the
enjoyment and education of present and
SUPPORT SYSTEM OF THE ARTS
future generations.
• Institutions
• Contemporary art exhibitions need not
• Organizations be confined within the “white cube”
(room) environment of galleries and
• Collectives museums.

• Media

• Alternative Platforms

Institutions Context

• Educational institutions such as school  Setting, conditions, circumstances, and

and universities offer artist training and occurrences affecting production and
grant degrees and disseminate knowledge reception or audience response to an
artwork.
in art.
  a set of background information. Travels, training, and professional development
broadens the artist’s horizons.
By recognizing context, we acknowledge art’s
Migration provides the artist with a different set
interaction with active forces in the society: social,
political, economic, religious, and historical to of material conditions
name a few.
Nature - source of inspiration and a wellspring of
Ex. materials for art production.

Bulul - Contains elements of sculpture but is not T’nalak - uses abaca fibers producing forms
regarded as such by its maker. inspired by nature: kleng(crab), gmayaw (bird in
fight) tofi (frog), and sawo ( snake skin).
A remarkable bulul collection can be
viewed in storage at Hiwang Village; Banaue, is evocative of the people’s belief that
Ifugao. Locals can see the said collection at H.Otley spirits reside with people in the natural
Beyer Museum located in the Vicinity. environment.
The Bencab Museum in Baguio City also has a big
collection of bululs. NELFA QUERUBIN-TOMPKINS - expiremented with
iron-rich San Dionisio Clay sourced from her native
Different Context of Art Iloilo.
Artist Background The traditional Ivatan houses in Batanes are built
using stones and fango for its walls, a kind of
 Age, gender, culture, economic
mortar formed by combining cogon and mud bits.
conditions, social environment, and
disposition. Junyee - made an ephemeral installation at the
grounds of the CCP titled “Angud, a forest
Betis Church Pampanga - sculpture is learned once(2000)”.
through “apprenticeship”
Veejay Villafranca – one of the photographers
Red paper MÂCHÉ - sculpture of horse/ “Taka” who warned the public about the alarming effects
Paete Laguna. of climate change, and how it forces people to
become “refugees in their own land”.
In the Gallery and Museum setting, the
UNIQUESNESS and INDIVIDUAL EXPRESSION Ricarte Purugana - depicted nature as an
“uncontrollable force” in his TOILERS OF THE SEA,
is given much IMPORTANCE.
1980
The Tausug National Artist ABDULMARI ASIA IMAO Lirio Salvador - a Cavite-based artist
fuses easily accessible objects like machine
(awarded 2006) integrate culture of Mindanao like discards, bicycle parts, and implements to form an
the mythical SARIMANOK assemblage.

The “Talaandig” artists from BUKIDNON on the MM Yu (photographer) - captured interesting

patterns and forms often overlooked in the city.
other hand, express their affinities with the land by
using soil instead of pigments and painting about
their present concerns.

Julie Lluch (iligan city) - emphasized her female

identity and personal experiences in many of her
TERRACOTTA WORKS.

“CUTTING ONIONS ALWAYS MAKES ME CRY”, Society, Politics,Economy, and History

1988 - presents cooking, a role associated with
women in the home as oppressive and unpleasant.
Although art is a form of expression, we discern
that thoughout its history, the works are not
always created out of the artist’s own volition

“changes in the society, politics, and economy

affects the artists, the work that they do, and the
structures that support their production…”

“Technological innovations engender shifts in

artistic production…”

20th Century
PHOTOGRAPHY became accessible to local
photographers as “Kodak” set up shop in the
Philippines in 1928.

PHOTOGRAPHY fulfilled documentary and artistic

functions.

DALAGANG BUKID by Hermogenes Ilagan and

Leon Ignacio, Directed by Jose Nepomuceno
(1919) - is the basis of the first film to be directed
by a Filipino.

During Nepomuceno’s time, technology

integrating music was not yet available, so the
latter would be produced through
“acapella” while the movie ran.

ATANG DE LA RAMA (NATIONAL ARTIST) - a

singer-actress who would sing in such movies.

Benedicto Cabrera’s - “Brown Brother’s Burden”

1970

APPROPRIATION - the technique of transforming

existing materials through the juxtaposition of
elements taken from context and replacing these
in another to present alternative meanings,
structure, and composition.

“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…”

MIDEO CRUZ’S “Poleteismo” at the exhibit entitled

“Kulo”

The artist’s AGE, GENDER, CULTURE, ECONOMIC

CONDITIONS, SOCIAL ENVIRONMENT, and
DISPOSITION affect PRODUCTION as well as
RECEPTION…”