ART APPRECIATION

LEARNING MODULE FOR COLLEGE STUDENTS

Module 3. Living with Art
 LESSON 9.

Soul-Making in Art

INTRODUCTION

Dr. Norman Narciso, one of the leading Filipino thought leaders in the art world, deeply explains soul-
making as an alternate place to know oneself and to look at the depths and meaning of what we are doing in our
daily lives. It is a step towards a deeper comprehension of how the world is perceived and how one's own
personality is seen. Soul-making plays a major role in art production. It is a form of crafting stories, transforming
brief moments into images, symbols that connect with people, understanding culture and embodying tolerance,
peace,and imagination.

This chapter discusses the concept and importance of soul-making in art as well as of improvisation and
being familiar in creating and performing an art without any preparation.

OBJECTIVES

At the end of this lesson, the student should be able to:

1. identify the concept of soul-making;

2. explain how meanings can be derived from art;

3. discuss how improvisation can make an artwork distinctive;

4. determine the significant of da Vincian principle; and

5. develop student’s artistic potentials through soul-making.

EXPLORE

Soul-making is a form of crafting stories that are transforming brief moments into images. Most of the
time it uses symbols to connect with people. It is also used in understanding culture and embodied tolerance
and peace. Imagination plays a major role in art production. One of the major roles of soul-making in art is it
portrays the content of every art that has been made, particularly its story. It somehow expresses your feeling in
art and it delivers you emotion through art. It is about crafting images derived from a person’s experience
expressed through any form of art.

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 What is “soul”? According to Hillman (1997), the soul is perspective rather than substance, a viewpoint
toward things rather than a thing itself. This perspective is reflective; it mediates events and makes differences
between ourselves and everything that happens. Between us and events, between the doer and the deed, there
is a reflective moment – and soul-making means differentiating this middle ground. This perspective creates
another definition on how we see the content of an art and how the artist expresses his thoughts in making
artwork through his experiences. It puts importance in nourishing particular experiences to allow us to understand
our humanity by being more considerate and have an appreciation of life.

Knowing Oneself. In soul making, "who are you" is the topic that throughout the process serves as a
guidepost. Knowing oneself begins with consciousness. In order to start the process, it is necessary to realize
and embrace one's truth, history and understanding of existence. With this new found insight, art, which is
actually the very core of soul-making, can now come into play. Therefore, it is not so much the production that
is mostly taken into account, but the method of perceiving anything.

Depths and Essence. Soul-making is more than the soul's religious perspective. Soul refers to a
person's individuality that resonates with his or her behavior. Since art is a human expression that is highly
valued and symbolic, a person typically uses different art forms to fulfill the need to communicate and express
himself or herself. The human desire to actualize his or her very being is strongly assisted by soul-making.

What We Are Doing. Art gives a person a sense of purpose about what he or she is doing. As any
artwork is an expression of one's perceptions, feelings, emotions, and realities, the key to personal cultural
growth is the process of creating such expression. Soul-making utilizes every human experience to build the
influence that can make the artist himself and others improve.

Everyday Life. Life includes a lot of adventure, understanding the challenges that come with each
adventure, and understanding how each person has a unique way of perceiving things as life happens to them.
Soul-making is a method that can be gone through by anyone. As all are creative in their own right, it is not
limited to the "obviously artistic". It's just a matter of losing yourself in the art of viewing the world from a different
perspective and detaching yourself from yourself.

Categories of Soul-Making

1. Crafting Images. It includes the production, by various forms and methods, of visual representations of
images. Any art form such as drawing, sketching, and sculpting can be used to perform this process.
Dancing, poetry, musical instrument playing, and even filmmaking may also do this.

2. Crafting Stories. An individual is already creating stories when he or she writes down his or her own
feedback, life values, deep feelings, ideas, ideals, and even high and low emotions. Similar to crafting
images, he or she may be portrayed by different means when one craft story is presented. Stories can
be relayed via vivid photos, calming music, and impactful sentences.

3. Crafting Instruments. This is treated as "a bridge to the unknown because the instrument creates
sounds that exceed our thoughts, emotions, and sensations. The soul is accompanied by a vessel so
that the soul will not disappear." Instruments help people explore the magic behind music and its unique
impact on a person. Such musical instruments can establish the soul's harmonious sustenance and the
mind's balance.

4. Crafting Movements. Life is movement, according to Dr. Narciso (2016). One's life is full of different

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 rhythms. It is full of flowing images accompanied by narratives, and this melodic flow symbolizes how
the universe gives every human being the ability in their respective lives to experience the highs and
lows. For artists who are more inclined to crafting movement, the pattern that life serves a person provides
a source of inspiration.

5. Crafting Techniques. In soulmaking, this is the artist's reflection of his life and experiences in any piece
of art. The approach, preferably, should be methodological. A soulmaker, though, when he executes his
creative expression, is unbounded.

Five Phases of Soul-Making

1. Seeking (or Finding). At this point, we recognize that each of us who are interested in our own growth
and the ways of our world is a 'seeker.' We are looking for a discipline or method that can help us live in
and make sense of the world and heal the wounds of 'self.'

The best thing about searching is that it is a vital stage in our growth as soul builders. It gives us
the tools to live our lives, and if we systematically look, we find that in some integral sense, these tools
and practices can be fitted together, allowing us to settle down, moving us on to a practice or cluster of
practices that satisfy our creativity and passion, and that we can then spend time perfecting.

2. Settling. Soul-making is about communicating as profoundly as possible with the soul, with other human
and non-human beings, and with the world. If we are perpetually wondering, we cannot do this. We must
find ourselves settled at some point in our lives.

3. Surrender. If it is permitted to surrender, with all its pain and vulnerability, something magical will happen.
We tend to note in the midst of the crashing that our activities begin to be in the service of the soul. The
capacity to surrender, of course, is restricted by the amount of pain and uncertainty that we can bear.
True surrender takes us up and throws us down, calls for the wounds we bear to be accepted, and forces
us to spend time living in the darkness.

4. Soul-making. At some point in the variations between the settling and surrender dual polarities, we begin
to perceive our practice and life in the universe as soul-making. We are beginning to become an expert,
an injured healer. We're starting to grow up enough to feed our curiosities. We accept that there's no way
to ever get it right. Soul-making is the fourth stage, in which the individual transitions from a stage of
improving reflective practice to becoming a practitioner of soul-making. However, this is still not to be
completely settled in, since it holds all the strengths and disadvantages of the previous levels. We have
to keep looking. Throughout life, we all settle and re-settle. We would all be met with the psyche's appeal
for submission, over and over again. And it will constantly call upon our capacity to care and nurture
(others and the world).

5. Soaring. When we begin the journey, what we most wish is to soar. To conquer our worldly experience's
material realities - to travel. It will not happen, however, if we only want to fly, nor can the psychological
version of a spaceship or airplane be created by ourselves. What may be true is that we could find
ourselves soaring, together, engulfed in the air and sky, by enabling ourselves to pass through the stages
of soul-making.

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SOUL-MAKING: MAKING AND DERIVING MEANING FROM ART

Semantics and grammatical rules are essential elements to remember in order for human beings to make
sense of language and derive meanings from words. Apart from this, it is often known that meaning and
symbolisms view and evaluate either verbal or written works. In terms of art, it would involve understanding the
visual elements on which art was focused, particularly the concepts of design, in order for people to make sense
of the work. It is important to remember that the viewer must have a certain degree of understanding of the
work's style, shape, and material. It would be impossible to appreciate the visual arts in their fullness and
completeness without such understanding.

Improvisation

It is possible to describe improvisation as doing something without previous planning. There is a decision
to act upon something that might not be expected necessarily. Improvisation has become an important part of
the arts within the present context. Some would claim that during the twentieth century, it was a response to the
stiffness of the arts. There is a call for emancipation from monotony aimed at rekindling people's creative spirits
in the arts.

Infusing spontaneity and improvisation adds up to the totality of the work of art for certain artists. The
Unpredictability of the changes brought on by improvisation enables the artwork to have a distinctive quality that
creates its identity and uniqueness. The principle of allowing opportunities in the process of making the work is
supported by some artists. Artists would like, for instance, to depict the darkness brought on at night by
an incoming storm or the beauty of a meteor shower. Since they do not inherently have total influence over
natural phenomena, their dependency on opportunities may not necessarily deliver their anticipated result. Artists
who encourage their subjects to improvise can often have entirely different outcomes.

Improvisation highlights creativity, immediacy, innovation, and spontaneity as part of its product and
activity. It exists not only in the arts but in many other fields. It is more likely innate in art because you need to
make an alternative to make the artwork more aesthetic. In a general sense, improvisation is spontaneous,
unplanned or otherwise free-ranging creativity. Certain performances or products of artistic activity are referred
to as improvisations when they have been produced in a spontaneous originative way.

The Culture of Improvisation in the Philippines (Antolihao, 2004). Since the Philippines is situated in
the “Typhoon Belt” and the “Pacific Ring of Fire,” natural calamities are a common occurrence. Filipinos have
learned to be resilient, resourceful and innovative. A house that was built for years can be easily destroyed in
one night, thus our early ancestors never erected permanent residential structures. The structures constructed
were adaptable, something that could be built and rebuilt in a short period of time.

An example of cultural improvisation is the bahay kubo (nipa hut). Bahay kubo is a common type of house
in the country because of its versatility and ease of construction. Most of the houses in the rural community
consist of bahay kubo. Geography and climate, available natural building materials, and local construction skills
influenced the design and construction of the bahay kubo. When peasants move to the city, they bring with them
their ability to make use of whatever is available.

In the urban setting, the bahay kubo evolves into a barong-barong. Like the bahay kubo, the barong-
barong is built with speed not only to avoid unfavorable weather, but also to evade landowners and authorities.
Rebuilding of the barong-barong is just as easy once it is damaged by natural calamities, or in most cases,
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destroyed by demolition drives.

Types of Improvisation

a. Applied Improvisation. It is being used in classrooms as an educational tool and in

business as a way to develop communication skills, creative problem-solving, and
supportive teamwork abilities that are used by improvisational and symbol players.

b. Dance Improvisation. Dance Improvisation makes use of the body as the center of experience
(Kuhlmann, 2004). All experiences are made through our bodies. The body is the focus and
experience and perception.

As a postmodern art form that developed in the 1950s, dance is reflective of itself. The
improvisational performance examines the body as the medium of art in the form of dance. It puts
into question what are the boundaries of dance performance.

c. Music/Sound Improvisation. It is the creative activity of immediate musical composition, which

combines performance with communication of emotions and while simultaneously playing
instrumental as well as being used as response to other musicians

d. Theater Improvisation. Improv is a form of theatre and performance where everything is

unrehearsed and unscripted. All the scenes and stories are created on the spot.

Silly People Improv Theater (SPIT) is an improv theater company that originated in the
Philippines in 2002. Third World Improv is the first school in the Philippines dedicated to
teaching the art and craft of improvisational theatre. It conducts classes and workshops
an improvisation of theater and performing shows that are completely unrehearsed and
created on the spot

Principles of Improv

● “Yes, and…” - this pertains to the acceptance of the situation or idea, no matter how weird it is,
and build on it.

● Making your partner look good - this means putting your partner in the best light possible.

● “Walang Laglagan” - this builds an atmosphere of trust and support so the team can work together
harmoniously.

● The average - this means never hogging the spotlight, or talking over other improvisers, or
pressuring yourself to be brilliant all the time. It means just doing your part genuinely and honestly,
letting the scene take off on its own.

● Active listening - the only way to move any story on stage forward is if you pay attention to what
your scene partner is saying.

● Everything is a gift - on an improv stage, everything said or done is an offer if the performer
chooses to accept it. If he/she is listening actively enough, there are openings to create
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 everywhere – be it creating drama, comedy, or intrigue.

Improv and Stand-up Comedy

● Stand-up is scripted, done alone, and the material and jokes that comedians hone to perfection.
Whereas improv has structures but the content is always on the spot and unscripted. It is also
often done with at least two people, often with a group.

● Certain performances or products of artistic activity are referred to as improvisations when they
have been produced in a spontaneous originative way.

● Improvisation is part of Filipino culture.

Appropriation

Throughout history, appropriation of art has been a common occurrence. In the past, an apprentice
painter would be able to use his master's work to copy if he wanted to hone his skills in his art. It is as if the
apprentice is attempting to explore what he is more familiar with through his personal application of techniques.
There are, however, several individuals who have reached the extreme by assuming that an artist's exact artwork
is replicated and credited to himself. This could pose a problem with authorship in particular. The issue occurs
when the artist of appropriation gets bits and pieces from other works and incorporates these elements into his
own work. Furthermore, when appropriation artists escape responsibility for putting the specifics of other works
and incorporating them into their own, with that of the appropriation artist, their voices and perceptions of the
other artists are lost.

A very thin demarcation line seems to exist between the art of appropriation and forgery. Forgery can
historically be categorized into two forms: outright copies of existing works and pastiches, which are works that
incorporate elements of a work and infuse them into a new work. But forgery may be in the form of making an
interpretation of what an artist might do by prediction in contemporary times. This can be accomplished by
studying the techniques and style used by the artist and also the focal points highlighted in his past and present
works. Since problems of plagiarism or forgery often arise, the motives of the appropriation artists are sometimes
challenged. Some would say that the purpose behind the appropriation is that they want the audience to
remember the images they replicated. There is a desire on the artist's part that the audiences will see a new take
on the original work.

Art Appropriation is discussed further in the next lesson.

SEVEN (7) DA VINCIAN PRINCIPLES

Leonardo da Vinci is considered the Renaissance genius who excelled in art, mathematics, architecture,
philosophy, military planning, etc. What does it mean to be a genius? Is a genius born or made – or both? The
idea of "genius thinking" can sound rather overwhelming, but you'll be pleased to find that it's simpler and a lot
more enjoyable than you thought.

Michael Gelb (1999) captured the development of how Leonardo da Vinci thought of his artwork and how
he thought deeply to create the soul of his artwork. The method of da Vinci will affirm many of your own strongest
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intuitions as to how you can access your own ability. Here are the seven genius principles of Leonardo da Vinci
that will open your imaginative aorta and unleash your genius.

1. Curiosità. It is an insatiably curious approach to life and an unrelenting quest for continuous learning.
This is intended for the people to think about their expected output in art. It is the first step to create
an artwork.

Da Vinci was not the only one to represent a nearly unlimited supply of curiosity. Some of the
great inventors and leaders of humanity have the ability to unlock life's mysteries. Think about
curiosity in two basic questions:

a. What if?

Ask your brain to project into the future. It encourages you to see options where you might
have overlooked them, it allows you to make connections and it is a sneaky way to get your
brain more goal-oriented. What if I started this person's conversation? What if I attempted a
new activity like this? What if I began the new schedule of workouts? Usually, what happens
after 'what if...' is mystical.

b. How come?

‘How come’ brings you to 'why'. Instead of watching the environment passively or going
through reflex replies, ‘how come’ makes you challenge both your actions and the intentions
of others. Da Vinci didn't waste his life for a second. He was making, guessing, and tinkering
all the time. 'How come' allows you to use a mission every second of your life.

Here are some ways you can capture more Curiosità:

● A Hundred Questions. Write down 100 questions that are important to you. These could be
questions you wish to answer yourself such as, “What is my purpose?” or “What is the
meaning of life?” or questions you want to know about everyone you meet like, “What is your
passion? Or “What makes you happy?” This is the ultimate ‘what if’ and ‘how come’ exercise.

● Ten Power Questions. After you have brainstormed a list of 100 questions, select the 10 that
have the most powerful impact when you read them. Which ones spark a feeling of motivation
achievement? These are your catalyst questions. For example:

➢ When am I most naturally myself?

➢ What is my greatest talent?

➢ What is my heart’s deepest desire?

● Daily Themes. Da Vinci was an avid writer and note taker. He had a journal everywhere he
went. He takes notes when all kinds of ideas pop into his head. Carry a journal with you
everywhere and write down your ideas and observations. Each day, choose a theme or word.
You can do this at the beginning of the day to set the intention or at the end of the day as a
cool down or wrap-up.

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2. Dimostrazione. It is a commitment to test knowledge through experience, persistence, and
willingness to learn from mistakes. Some artwork has been based on the experiences of the artist.
Dimostrazione is the embodiment of your own hands controlling your life. This principle tells us to:

a. Test every idea.

b. Don’t take anything for granted

c. Experience life first hand.

For instance, if I take this personal growth lesson, then I expect to be healthier. Or as simple as
if I were organizing my wardrobe, then in the morning it would be easier to get dressed. The 'if...,
then...' exercise places you in the mood of chance-hunting, so you still look for and try alternatives.

Here are some ways you can capture more Dimostrazione:

● Find Your Greats. You have probably heard of all the most popular artists and authors, but
who are your favorites? Set out to find your greats. Don’t take anyone else’s word for it. Start
your own search for the artists, classical musicians or writers that inspire you. Go to a museum
and look at the paintings without glancing at the names.

● Be Devil’s Advocate. Try playing devil’s advocate against yourself. Try making the strongest
possible argument against one of your own beliefs just for the mental exercise. Write at least
three (3) points against yourself.

3. Sensazione. It is the continual refinement of the senses, especially sight, as the means to enliven
experience. This is your ability to produce your artwork.

Fill in the blanks:

___is so beautiful.

I love the way _____ smells.

What a lovely _____.

I adore the feeling of ____ on my skin.

The sound of ____ is music to my ears.

We forget to savor and sensualize our experiences. We all heard, 'Stop and smell the roses,' but
when did you actually stop and smell the roses for the last time? Yes, literal roses, but metaphorical
roses as well. When did you stop for the last time to savor an experience? Da Vinci was unbelievably
inspired by the world around him and the more he honed his senses, the greater his genius became.

Here are some ways you can capture more Sensazione:

● A Sense-a-Day. Plan out 5 experiences in the next few months where you practice honoring
each of your senses.
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 ➢ For smell, go to the local botanical gardens, make your own perfume or cologne and
learn to recognize herbs by their scent at the local grocery store.

➢ For taste, (this one is easy!) eat a bunch of your favorite food and try one new cuisine.
Figure out your favorite spice.

➢ For sight, go to your local museum, then hike to a vista or viewpoint and learn some
new photography techniques.

➢ For touch, go to your local animal shelter and volunteer petting pups and kitties. Go
through your closet and organize it by fabric. Go shopping and try to buy one new
fabric you have never owned before.

➢ For hearing, go to a concert, stop by your local music store and try to play an
instrument you have never heard before. If you are really ambitious, try to learn bird
mating calls or spend some time trying to draw sound. For example, if you had to draw
the sound of a trumpet, how would you do it?

4. Sfumato. It is the willingness to embrace ambiguity, paradox, and uncertainty. Da Vinci had a very
special capacity to comprehend the extreme opposites of views and phenomena. He was also able
to explore and revel in the uncertainty of unknowns. At this time, an artist might not be recognized for
his work by the people but it is part of the journey to become as genius as Leonardo da Vinci.

Most of us are uncomfortable with questions not being known for being unanswerable, so we
avoid anything beyond our control. We stick to what we know and do a Google Search right away the
moment we don't know something.

Here are some ways you can capture more Sfumato:

● Stop Googling. For the next week, anytime you need to look up a word or trivia fact, try to
guess the answer instead. You can phone a friend for help as well, as long as they brainstorm
with you too.

● Embrace Your Ambiguity. List some situations from your life where you are confused
or feel ambiguous about an outcome and explore the feelings that come up.

● Cultivate Confusion Endurance. Tap into your own paradoxes by asking questions like,
“How are my strengths and weaknesses related?” or “What is the relationship between my
saddest moments and the most joyful ones?”

5. Arte/Scienza. It is the development of the balance between science and art, logic and imagination.

Although da Vinci was not around for the right and left brain learning experiments, this notion
speaks directly to the whole brain thinking idea. Label the declarations that sound like you:

Right Brained: ___ I like details

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 ___ I am almost always on time ___ I am highly imaginative

___ I rely on logic ___ I am good at brainstorming

___ I am skilled at math ___ I love to doodle

___ I am organized and disciplined ___ I often say or do the unexpected

___ I like lists ___ I rely on intuition

___ I often lose track of time

Left Brained:

6. Corporalità. It is the cultivation of grace, ambidexterity, fitness, and poise.

In addition to his intellectual ability, da Vinci was unbelievably athletic. From early on, he knew that
his body also had to be in top shape if he wanted his mind to work at optimum levels.

Here are some ways you can capture more Corporalità:

● Learn the Science of Eating. You can check articles or research on the science of eating
and some really easy ways to make your food intake more purposeful.

● Get on a Sleep Schedule. Everyone has different sleep needs and rhythms. For the next
week, track your sleep times and hours and see which days you have the most energy. Are
you a night worker? A morning person? Learn your cycles and then honor them by building a
sleep routine.

● Cultivate Ambidexterity. Da Vinci used both his right and left hands as he worked. You can
do this by trying to brush your teeth with your non-dominant hand or get a really patient person
to play a game of pool, tennis or catch where you switch hands.

7. Connessione. It is a recognition and appreciation for the interconnectedness of all things and
phenomena.

Here are some ways you can capture more Connessione:

● What’s Your Book Outline? If you had to create a table of contents for a book about your
life, what would it be if you couldn’t make it chronological?

● Three (3) Objects. Pick three random objects in your house. If you had to find connections
between them, what would they be? For example, I chose my blender, my garage clicker and
a bottle of nail polish. Can you think of three connections? I thought: With all three of these
things, the faster they work, the better. The faster the blender, the better the smoothie, the
faster the garage door opens, the faster I get home and the faster my polish dries, the less
risk there is of my mushingup my toenails. This is also a great one to play with kids.

These principles are what we can apply when we are approaching our contemporary times of turmoil and
struggle. Through these principles, we can become reflective of how we live through the contemporary digital
age. The soul is a perspective, not an essence that each person possesses. Soul-making is about crafting

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images derived from a person’s experience expressed through any form of art.

CAPSTONE ENTRY

Choose only ONE from the following:

a. Improvised Cosplay. Take a picture of yourself dressed like your favorite character using
things available in your home. Attach the picture with the description of the character you are
portraying in your entry.

b. Puppet Show. Make a show using an improvised puppet that will portray the Filipino heritage or
culture, the process of the show must be recorded on video* at least 2 minutes or a maximum of
5 minutes.

c. Dance Improvisation. Make choreography of the song “The Coconut” by Ryan Cayabyab. You
should record yourself while dancing. Attach a 2-minute video* to your entry.

d. Improv music or theater patterned after SPIT. Watch this video to guide you during the
process: https://youtu.be/dHZiQr7MGvE. Then, make your own improv music or theater
performance. The show must be recorded on video* at least 2 minutes or a maximum of 5
minutes.

e. Story-making. Using the camera of your phone, take pictures in your environment and make a
story out of those. Your entry must have at least three pictures that will fulfill the scenario of the
study. You must add a caption on each picture.

f. Digital Art. Find an image on a billboard or in a magazine, photograph it, and import it into
image processing software of your choice. Manipulate the image by cropping it, adding text or
images to it, or changing its color. What kind of statements can you make? Give your
manipulated image a title.

*For video attachments: If you cannot attach the video directly to your entries, just upload it to your Google
Drive and add the link/URL of the video in your entry. Make sure you make this visible to those with access to
the link.

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 LESSON 10.

Appropriation in Art

INTRODUCTION

Have you ever copied an image from a photograph, advertisement, magazines, journals, or other
sources? When is it okay and when is it not? In this contemporary world, we live in a culture that overflows with
image, and objects. From television to the internet, from the mall to the junk shop, we are surrounded by words,
images, objects that are cheap, free or throwaway. You may think that these are already useless and have no
importance. Surprising or not, artists today incorporate these objects into their creative expressions and this is
what we call appropriation in arts. This lesson will delve into the concept of art appropriation.

OBJECTIVES

At the end of this lesson, the student should be able to:

1. determine the significance of appropriation in creating an artwork; and

2. know the effect of appropriation in pursuing originality.

EXPLORE

To appropriate does not mean stealing or plagiarizing. It is not owning a particular work but just using the
artwork in the artist’s new context. To appropriate is to borrow. Appropriation artists do not prohibit the viewers
to bring the original message and intention of the original artwork; rather, they still establish them in the new
context.

Appropriation can, but not exactly, revive a particular work of art. Thus, it can also be a vehicle to
comment on its original meaning and purpose. Most art forms can be appropriated. Paintings, sculptures, music,
dances, literary pieces, and even functional arts are appropriated to get in touch, to serve, and to provoke ideas
of particular audiences.

“Owning narratives” is an example of appropriation that is a common way of sharing stories and in
whatever purpose it may serve. Every artist is a storyteller, sometimes visionaries. An artist is a witness and a
documenter of time.

According to Bordwel and Thompson (1997), “narrative is a fundamental way through which humans
make sense of the world.” He further states that, “narration is a form of communication intricately related to a
culture’s mythic consciousness. It is a part of the basic human need for self-expression and creativity. And it is
integral to the poetic impulse represented in culture’s founding myths” (as cited by Yearwood 2000:124).
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 As what we, human beings, always do, we embellish things. We are creating a new form of myth or a
story. This story can be a potent source of truth, but sometimes turns in between truth and lie. Basically, narration
or story, legend or myth, are there to be utilized as vehicles of our everyday experiences because we, ourselves,
in the journey of the character of the story, of our lives per se Is a journey that seeks a character of identity and
originality.

So, even when stories or works are borrowed but are offered and shared in public, it is now then open
for ownership as it would appropriate the identity of the reader or artist. The artist would somehow emulate this
good story and become part of the journey of recreating stories to appropriate with the time he/she lives in.

What does the artist do with the image which was appropriated?
Any appropriated image can be photographed or digitally reproduced, copied by mechanical means using
an overhead projector that is attached directly into the artwork or recreated in several ways. The result can be a
real representation of the appropriated object or a genuine transformation.
Sometimes artists recreate an object or repaint it. They may also alter its scale or style to create a new
artwork. They may also juxtapose (placing it side by side) different objects or images, break them into fragments,
or recontextualize (glossary) them — that is how they redefine images or objects by placing them in a new
context so that it appears as an original work of art.

Is the use of appropriation significant?

The use of appropriation in art has played a significant role in the history of the art such as those in the
literary, visual, musical, and performing arts. In the visual art, for instance, to appropriate means to properly
adopt, borrow: recycle or sample aspects of human - made, visual, cultural. In most cases the original ‘thing’
remains accessible as the original, without changes.

Appropriation of Art into Contemporary Narratives

Many artists today have been trained in specific artistic styles, mover rents, and techniques. These artists
appropriate and transform works of art to varying degrees to fit the theme and designs of the stories they wish
to illustrate and put ‘ish. Their purpose of doing this is to increase the significance of their artworks.

In fine arts, for instance, there are three forms of narrative appropriateness: (1) reproduction, (2)
transfiguration, and (3) stylization.

Reproduction is the mimetic reproduction of an original work of fine art, a faithful rendering of an original
artwork, most frequently achieved through a photographic or digital rendering process. In transfiguration, a
single work of fine art is identifiable but the artist has transformed the image to fit the context and purpose of a
particular picture board, narrative and design. In stylization, a specific work is not readily identifiable but a
particular art movement, for example surrealism may be adopted upon by the illustrator.

13 ❘ ongmd s.22-23
Five Acts of Cultural Appropriation (Young, 2008)

a. Object appropriation. Tangible work of art is appropriated. It occurs when the possession of a tangible
work of art, such as a sculpture or painting is transferred from members of one culture to another.

b. Content appropriation. Intangible work is appropriated. This happens when an intangible object (a
musical composition, story, poem, or an idea) is reused and expressed in a work by an artist outside the
culture from which it originated.

c. Style appropriation. Stylistic elements are appropriated. This occurs when stylistic elements common
from one culture are taken and expressed by an artist who belongs to another culture.

d. Motif appropriation. Motifs are appropriated. It occurs when motifs from one culture are taken and
expressed by an artist who belongs to another culture. Tattoo motifs are often appropriated - can be
appropriated without knowledge of where these are coming from, and what important symbolic meaning
they have for the culture from which they are taken.

e. Subject appropriation. Another culture or some of its people is appropriated. It occurs when the subject
matter, particularly another culture or some of its members, is represented by an artist who belongs to
another culture in his/her work.

Historical Background of Appropriation in Arts (Barbara Kruger, 1987)

Appropriation in art started in the 1970s with Richard Prince rephotographed advertisements such as for
Marlboro cigarettes. His main work is on billboard advertising. In the 1980s, this art was commonly used by
artists. One of them was Sherrie Levine who addressed the art of appropriating itself as a theme in arts. She
often quotes the entire works in her own work, for example photographing Walker Evans. Levine plays with the
theme of “almost same.” In the 1990s, artists continued to produce appropriation art, raising it as a medium to
address theories, political, and social issues, rather than to focus on the works themselves.

In separating images from the original context of their own media, we allow them to take on new and
varied meanings. The process and nature of appropriation has been considered by anthropologists as part of
the study of cultural change and cross-cultural contact. Images and elements of culture that have been
appropriated commonly involve famous and recognizable works of art, well known literature, and easily
accessible images from the media.

The first artist to successfully demonstrate forms of appropriation within his work is widely considered to
be Marcel Duchamp. He devised the concept of thé ‘readymade’, which essentially involved an item being
chosen by the artist, signed by the artist and repositioned into a gallery context. By asking the viewer to consider
the object as art, Duchamp was appropriating it. For Duchamp, the work of the artist was in selecting the object.
Whilst the beginnings of appropriation can be located to the beginning of the 20th century through the innovations
of Duchamp, it is often said that if the art of the 1980’, could be epitomized by any one technique or practice, it
would be appropriation,

The concepts of originality and of authorship are central to the debate of appropriation in contemporary
art. To properly examine the concept, it is also necessary to consider the work of the artists associated with
appropriation with regards to their motivations, reasoning, and the effect of their work. Hence, the notion of
14 ❘ ongmd s.22-23
authority is still very present within appropriation in contemporary art - but diminished responsibility.

In this digital age, appropriation has become an everyday phenomenon. The new generation “remix
culture” has already taken the stage not only of the visual arts but also of music, literature, dance and film.
According to some artists, by liberating one finally from traditional concepts as originality, they will lead to new
terms of understanding and defining art. Critical observers see this as the starting point of a huge problem. They
say that if creation is based on nothing more than carefree processes of finding, copying, recombining, and
manipulating pre-existing media concepts, forms, varies and alters any source, art will be trivialized, low-
demanding and a regressive activity. Some say that only the last people (to include the artists) who have nothing
to do are inspired in this way of appropriating arts. Copying, imitating, repeating, quoting original works of art is
plagiarism and is a violation of the copyright law.

Appropriation Art Cases Filed in Court

Appropriation act has resulted in several copyright issues regarding its validity under copyright law. A
number of cases and laws have emerged that investigate the division between transformative works and
derivative works.

Among those who faced a series of lawsuits were Andy Warhol on his famous “Campbell’s Soup Can,”
Jeff Koon’s “String of Puppies”; Andrea Blanch’s “Silk Sandals by Gucci”; Damian Hurst’s sculpture “Hymn”;
Richard Prince and companions on their painting “Canal Zone”, etc. The case is in favor for all respondents
(sued artists). Appropriating a familiar object to make an artwork can prevent the artist claiming copyright
ownership and artworks that “transformed the original images are permitted”.

The Problem with Bagani (Ching, 2008)

What does Bagani mean? Bagani was derived from two words:mandaya which means “warrior chief”;
and manobos, meaning “warrior priest”. Bagani is not recruited but anointed by Mondaangan, a revered spirit,
and is sacred to the Manobo people. So when you use the term Bagani for a teleserye that is devoid of historical
and cultural context, you are actually lambasting the memoirs and integrity of our warriors.

When is cultural appropriation problematic? Some acts of cultural appropriation can be considered as
theft. Cultural appropriation could harm members of culture by misrepresentation, thereby producing
discrimination and inequality in terms of economic, educational, or other opportunities. It could also lead to
exploitation of the cultural heritage of the indigenous people

Final Thoughts

The certain level of freedom and creativity experienced in art can lead to appropriation. Appropriation is
retaining the original associations of the artwork while bringing the audience to a new context. Art making is as
dynamic as culture. Changes, owning, borrowing and appropriating is inevitable. Songs are revived, novels and
short stories are filed and coming alive, old films are re-filmed and even the characters are repackaged, painting
subjects are appropriated, old functional tools designs are innovated and improved, and legends and myths are
15 ❘ ongmd s.22-23
animated to appeal to new audiences.

Appropriation in art raises questions of originality, authenticity and authorship, and because of this it is a
useful tool for exploring these concepts. As such, it belongs to a long tradition of modern art that goes beyond
using art as a tool for showing images and narratives and looks inward instead, questioning the nature of art
itself.

When it comes to art appropriation, there seems to be a debate whether or not something is just an
appropriation of an existing work or just plain forgery. However, we have to uphold the principle that appropriating
is acknowledging. If an artist learns to acknowledge source, the more an artist develops honesty and sincerity
and the more he/she knows his/her boundaries and limitations. In appropriation, artists or even the audience
develops respect and in stills valuing of a certain thing.

Art of all genres has something that makes us think, or evokes a feeling – any feeling, in it’s viewer.
Whilst some may consider appropriation as copying or forgery, it is clear that the controversial art form has now
gained recognition worthy of a contemporary art practice.

CAPSTONE ENTRY

Read Republic Act No. 8293 or the Intellectual Property Code. You may search the law on the internet.
Make a reflection on the provided law.

Guide questions:

● How does the law affect the creation of an artwork nowadays?

● Why does intellectual property code affect the creation of an artwork?

● What is the significance of the code in creating an artwork?

16 ❘ ongmd s.22-23
 LESSON 11.

The Philippine Arts

INTRODUCTION

This lesson covers the progress of Philippine Arts from its indigenous beginnings to its contemporary
status. It would also tackle the different art forms that are present uniquely in the Philippines. This lesson aims
to provide the readers with concrete and tangible things why Filipinos should be proud. The lesson presents both
the material and immaterial parts of our culture that explains and concludes our identity as people.

OBJECTIVES

At the end of this lesson, the student should be able to:

1. trace and summarize the development of the arts, art appreciation and aesthetics in contemporary
practice;

2. know the foundations of Philippine art;

3. carefully analyze the characteristics of Philippine art; and

4. appreciate the history and development of Philippine arts.

EXPLORE

PERIODS IN PHILIPPINE ART

1. NEOLITHIC AGE, METAL AGE

a. Angono Petroglyphs

● One hundred twenty-seven human figures scattered on the wall were made by engraving lines
using a piece of stone on the surface of the rock shelter.

17 ❘ ongmd s.22-23
 ● These are symbolic, not decorative.

b. Manunggul Jar

● Found in Manunggul Cave, Lipuun Point, Palawan, is dated to the late Neolithic Period, about
890-710 BC.

● On top of the jar cover is a boat with two human figures representing two souls on a voyage
to the afterlife.

c. Anthropomorphic Pots

● These are earthenware pots found in Ayub Cave, Maitum, Sarangani Province.

● Each of 29 jars covers found in the site was unique.

● These were used to cover secondary burial jars.

18 ❘ ongmd s.22-23
2. PLUTOCRATIC PERIOD

a. Banton Cloth

● This was the earliest known warp ikat (tye-resist dyeing)

textile in Southeast Asia.

● This is found in a wooden coffin that also contained blue

and white ceramics in Banton Island, Romblon.

b. Chieftains and Sultanates

● Multiple chieftains and sultanates existed in the Philippines

prior to the arrival of Spanish conquistadors.

● Pottery, textile, weaving, wood carving, and metalwork are among the earliest artistic
expressions.

● Domestic architecture and shipbuilding are also among the utilitarian yet artistic endeavors of
early Filipinos.

c. Butuan Ivory Seal

● An ivory stamp seal associated with a shell dated 9th-12th

century was found in Libertad, Butuan City in Agusan del Norte.

● Inscribe in the seal is the word “Butban” presumed to the

Butwan since “w” and “b” were used interchangeably then.

19 ❘ ongmd s.22-23
 d. Tattoo Art

● The Spaniards called the Visayans “pintados” because they were covered with tattoos all over
their bodies.

● Tattoos, a symbol for male valor,

only applied after winning battles.

● A full body tattoo is like armor.

● A man covered with tattoos all over

the body intimidated enemies as
well as townsfolk.

● As time progressed, our perception

of the tattoo changed.

3. PRE-HISPANIC PERIOD

a. Balangay (Balanghai) or Butuan Boat

● It is an edged-pegged plank type of boat. Hard

wood like doongon was used to create the
plank.

● The balangay can seat 25 people and is built

to withstand long-distance voyages.

● These prehistoric boats were uncovered in

Butuan, Agusan Del Norte in 1978.

b. Bulol or Ifugao Rice God

● It is a carved human statue wherein a certain

class of anito is said to incorporate itself when
worshipped.

● It is usually placed in the house or granary and

are commonly made in pairs.

● It is believed to contain spirits capable of

ensuring abundant harvests, increasing rice
yields, and protecting them against
catastrophes.

● It is carved from red sandalwood and narra

20 ❘ ongmd s.22-23
 trees believed to be lucky.

c. Lingling-O

● It is a kind of ear pendant made from green

nephrite (jade).

● It is a ring with a slit on one side to fit the

pierced earlobe.

● The double-headed pendant was found in

Duyong Cave of Palawan, and it is one of the
finest jade ornaments found in the
Philippines.

d. Arnis (Kali and Eskrima)

● It is the unique traditional fighting technique of

the ancient warriors of the Philippines.

● Now hailed as the national sport and fighting

style of the Philippines.

● The method of fighting can be without weapons

or by using sticks, knives, and any other bladed
weapon in dealing with the opponent.

e. Batok or Batek

● It is a kind of indigenous tattooing of the Kalinga people in the

Cordilleras.

● Cordillerans or Igorots believed tattoos held spiritual powers

and magical qualities, which could give them strength and
protection.

● It is used to distinguish or reward a warrior after a successful

headhunt expedition and to mark the people’s social status
within their community.

● Whang-Od was the most renowned tattoo artist in the country

and who has been considered the last mambabatok. Also,
awarded the Haraya Award for Intangible Cultural Heritage by
the National Commission for Culture and the Arts (NCCA) in
June 2018.

21 ❘ ongmd s.22-23
f. Kampilan

● The Maranao Kampilan or sword is a single-

edged bicuspid weapon that has an intricate
handle made of brass and ivory.

● It is widely known that the Maranaos utilized this

sword as a weapon to cut off heads and to split
the body from top to toe.

● It is used as a symbol of power, wealth, and

status of the Datu and Sultan and is made purely
as a commercialized item.

g. Kubing

● It is a type of jaw harp made from a hand-carved piece of bamboo.

● It can create a vast number of sounds and timbres in the hands of a good player.

● It is known by so many different names according to the culture that uses it:

➢ Kubing - Mindanao tribes

➢ Kulaing - Cotabato

➢ Subing - Visayas

➢ Barimbaw - Tagalogs

➢ Kollibaw - Negritos

➢ Kinaban - Hanunoo Mangyans

➢ Afiw - Bontocs

➢ Coding - Ibaloys and Kalinga

22 ❘ ongmd s.22-23
4. EARLY SPANISH COLONIZATION

a. Religious Art

● In the 16th century, Spanish

colonization sought to
replace indigenous culture
with one in the image and
likeness of the west.

● The Church is the sole

patron of the art, thus art
practice was limited to religious forms (altar pieces and prayer book engravings).

b. Bahay na Bato

● A type of house developed during the

Philippine Spanish Colonial Period.

● It is an upgraded version of the conventional

bahay-kubo.

● It was brought about by the socio-economic

developments of the time when Manila was
opened to international trade in 1834.

● It is described as a house with wooden legs

and a stone skirt.

c. Baroque Churches

● The UNESCO World Heritage List in 1993

included four Spanish Colonial period
churches in the Philippines.

● All four churches are designed and known

to be of the Baroque style, mixed with
European church design.

● The four churches that were built by the

Spaniards are located in Manila; Santa
Maria, Ilocos Sur; Paoay, Ilocos Norte; and
Miagao, Iloilo.

● The Baroque Churches of the Philippines were the four Roman Catholic churches made
between the 16th and the 18th centuries.

● They are adorned specifically with features, such as retablos or altars of high Baroque style,
as seen in San Agustin Church, Intramuros, in the volutes of contrafuertes or buttresses and

23 ❘ ongmd s.22-23
 in the pyramidal finials of wall facades, as seen in Paoay Church.

d. Sculpture

● Upon the coming of the Spaniards, new art forms were introduced by the Spanish friars, but
the natives took to sculpture of the saints.

● The santos were utilized for the church

altars and retablos.

● The santos replaced the anitos in the altars

of the natives’ homes while retablo or the
“cabinet of saints” housed the tabernacle
and the image of the town’s patron saint.

● The most ornate retablos could be seen in

San Agustin Church, Intramuros.

e. Fiesta

● The Spanish word for party or festivity, turned pista in the local dialect.

● It is an acknowledged national traditional

occasion.

● It is a momentous occasion when

communities come together in gratitude
for another passing year.

● The word fiesta in the minds of Filipinos

creates images of banderitas (flaglets),
carrozas (processional carts), marching
bands, and a lot of food.

f. Philippine Dance in the Spanish Period

● The hispanization infiltrated

even the musical and
choreographic practices of the
people.

● Even native dances took on the

tempo and temper of the
European forms, like the noted
Tinikling and the Itik-itik
acquired the tempo of the jota
and the polka.

● The Spaniards not only modified

24 ❘ ongmd s.22-23
 our ritual, occupational, and imitative dances, but also brought in their own dances. The most-
known was the jota, which later on took on numerous regional variations.

● The Spanish dances flourished and stayed for all social occasions.

g. Graphic Art

● The Dominicans published La Doctrina en la Lengua

Espanola y Tagala in the 1590s. It was the first book
printed in the country. On the cover was a woodcut
engraving of St. Dominic by Juan de Veyra, a Chinese
convert.

● Printing presses were owned and governed mostly by the

various religious orders because only prayer books and
estampas were allowed by the ruling colonial
government.

● Estampas featured portraits of saints and known religious

pictures.

● The introduction of lithography facilitated the printing of

newspapers and periodicals in the country.

h. Painting during the Hispanic Period

● In the first centuries of Spanish colonization, painting was only

for the creation of religious icons.

● Josef Luciano Dans, one of the known pioneer painters in

Philippine art history, has two notable works displayed in the
church of Paete, Laguna.

● The two famous artworks are: (1) Langit, Lupa at Impyerno -

first painting and featured Christ, the holy trinity, the seven
blessed sacraments, the mother of God, Mary, and the
realistic description of Hell; and (2) Purgatorio - second
painting, vividly described the agony of souls while passing
the eight types of punishment as a form of purification before
finally reaching heaven.

25 ❘ ongmd s.22-23
5. 19TH CENTURY PHILIPPINE ART

a. Rise of Ilustrados

● In the 19th Century, the port of the

Philippines was open to trade, and
the inauguration of the Suez Canal
allowed for more economic change.

● Instead for purely religious

purposes, art was secularized.

● A new elite class, called Ilustrados,

emerged and they assumed the
position of patrons for the arts.

b. Miniaturismo

● Portraits of women were executed in a style, miniaturismo,

known for the artist's meticulous attention to details of costume
and accessories indicative of wealth and power.

c. Tipos Del País

● Country types representing ranges of

social hierarchies dressed in typical
costumes of their occupation and
class, were made by Justiniano
Asuncion.

26 ❘ ongmd s.22-23
 d. First Art Academy in the Philippines

● Academia Dibujo y Pintura, the first

secular art school, opened in Binondo in
the first quarter of the 19th century.

e. Filipino Artist Abroad

● Juan Luna and Félix Resurrección Hidalgo won the Madrid exposition 1884 for their large work
in the style of 19th century salon painting.

6. AMORSOLO TRADITION AND MODERN ART

a. Americans as the New Patron

● The arrivals of the Americans defined new

education and value formation according to the
“American way of life”.

● Public schools created a demand for

illustrations for textbooks and publications.

27 ❘ ongmd s.22-23
 b. Fernando Amorsolo and his Painting Tradition

● Fernando Amorsolo and his colleagues from the

School of Fine Arts of the University of the
Philippines gave rise to the academic portraiture
catering to the needs of the Americans, the new
patrons of art.

c. Challenge of the Modernists

● The Amorsolo School was

challenged by the modernist as early
as 1928.

● Among the artists of modern art were

Victorio Edades, Carlos “Botong”
Francisco, and Galo Ocampo.

d. Art Associations

● After WWII, two art institutions with the role of supporting the arts were founded. They are the
Art Association of the Philippines (AAP) and the Philippine Art Gallery (PAG).

7. MARTIAL LAW ERA

a. Under The Guise of Cultural Program

● Marcos had to convince the people of his right to rule.

● Marcos together with Imelda created a cultural program aligned with the building of Bagong
Lipunan (The New Society).

● The native cultural program was based on the rebirth of the long lost civilization of the Malay
people.

● Representation of Ferdinand as the benevolent father of the nation, with Imelda as the mother
was found in paintings during their regime.

28 ❘ ongmd s.22-23
 ● This cultural program was just not the fabrication of a mythical past, but it was so coupled with
ideas of modernization, development, progress, and cosmopolitanism.

b. Marcos as Monumental

● Ferdinand Marcos commissioned architects to build structures that created the impression that
he was monumental.

● He pushed for the same monumental impression in the construction of the architecture around
Metro Manila.

c. Edifice Complex

● The Marcoses wielded architecture as a weapon to assert power and maintain public support.

● These structures were symbolic of progress and prosperity despite the poverty surrounding
them.

● The “Edifice Complex” plagues the nation with an obsession and compulsion to build edifices
as a hallmark of greatness or as a signifier of national prosperity.

d. Preference of Imelda

● An internationalist abstraction was favored by Imelda.

● This was in line with the modernized and cosmopolitan philosophy of the cultural program they
engineered into the New Society.

e. Artist Responded to Martial Law

● The proclamation of Martial Law curtailed many freedoms, among them is the freedom of
expression.

● Artists used art as a mechanism to rally the cause against the dictatorship and its atrocities.

f. Theater Arts During Martial Law

● Theater artists went to streets, plazas, factory sites, and open fields, to commune for the people
they were fighting for.

● The language of theater, previously English, was changed to Filipino for theater to become
accessible.

g. Artists Groups

● Among the group of artists which were actively engaging with the issues of the societies during
this Martial Law was Kaisahan, a group of social realist visual artists.

29 ❘ ongmd s.22-23
8. CONTEMPORARY PHILIPPINE ART

a. Incorporation of Historical and Traditional

● Historical themes mingled with folk imagery reconfigured

the works of artists such as Brenda Fajardo and Ofeli
Gelvazon-Tequi.

● Traditional art communities from the provinces dwell on

rural life, folk legends and traditions.

b. Environmental Awareness

● In 1980’s, awareness of environmental issues emerged in the trend of using indigenous

vernacular materials.

c. Incorporation of Traditional Material

● Kenneth Cobonpue is an
internationally famed designer who
incorporates local and natural
materials in his furniture (rattan, buri,
abaka, etc.) giving them a distinct
Filipino style.

d. Conceptual Values Take Center Stage

● Installations and mixed-media works have a central aspect of discursiveness in which

conceptual values become the center of the work.

● Installation art also includes performative interactivity between the artist, viewer and the public,
and the work itself.

e. Renewed Museums and Galleries

● Museums and galleries welcomed new development and mounted installations that depart
from conventional exhibition format.

f. Art Competitions as Platforms

● Art competitions provide encouragement for emerging artists and raise artistic standards.

30 ❘ ongmd s.22-23
 g. Participation in Biennials and Triennials

● Opening of regional and international biennials and triennials bring together artists and writers
from all parts of the world.

FAMOUS FILIPINO ARTISTS

Felix Resurrecion Hidalgo (1855-1913)

Hidalgo won a silver medal for his entry in large canvas, Christian Virgins Exposed to the Populace (Las
Virgenes Cristianas Expuestas al Populacho) at the Madrid Exposition of Fine Arts. Shortly after the 1984 Madrid
Exposition, he set up residence in Paris to serve a quieter life. In this place, he painted Charon’s Boat and
Oedipus and Antigone. His Sunrise (1985) revealed his ingenuity in painting landscape and seascapes.

The Artist’s Mother (1888) was one of the two portraits he did for his mother in Paris. Hidalgo returned to
Manila in 1912 for a visit but returned to Paris despite the pleas of his ailing mother.

Juan Luna (1857-1899)

After he won a gold medal in the 1984 Madrid Exposition, Juan Luna moved to Paris and stayed in an
apartment close to the Hidalgo’s. Shortly before his marriage to Maria de la Paz Pardo de Tavera he visited The
Hague and the seacoast of Scheveningen. In this place, he wrote two masterpieces. The Dream of Love, a
sensuous portrait of his sleeping wife Paz, whom he suspected of infidelity and shot to death in a jealous rage
in 1872, and the celebrated Tampuhan, which he painted on his return to the Philippines.

The lady with guitar was painted shortly after he was granted pardon by Alfonso XIII for his involvement
in the Philippine Revolution. Upon his return to the Philippines 1894, after an absence of 17 years, he painted
Houses by a Narrow Road, one of the several views of Marikina. He died in Hong Kong at the age of 41.

Fernando Amorsolo (1892-1972)

Fernando Amorsolo was a National Artist Awardee. In his golden years (1920-1945), he reaped various
honors. He went to Madrid in 1917 to study museum classics after receiving a scholarship grant from a rich
businessman named Enriquez Zobel. His first portrait upon return to Manila was that of his wife, Salud. He
exhibited 40 of his genres and landscapes at the Art Center of New York World’s Fair where he was acclaimed
the best popular vote. Amorsolo was also appointed Director of the School of Fine Arts of the University of the
Philippines. He also did splendid illustration work in Graphics, Liwayway, Sunday Tribune, Tagalog novels such
as Madaling Araw and Parusa ng Bayan, and posters and brochures. He painted acclaimed masterpieces like
The Blind Man, The Burning of Manila, Antipolo, and Dalagang Bukid, among others.

Vicente Manansala (1910-1981)

31 ❘ ongmd s.22-23
 Vicente Manansala was one of the most popular progressive artists in the county. He was a former
student of Cubist Ferdinand Leger and was respected by his peers because of the intellectual underpinnings of
his art. Before his death, he painted Give Me This Diary, a glimpse of his kind of cubism, in which some sides of
objects are sharply cut into curved or angular form to catch the light vibrantly. He was given posthumous
recognition as a National Artist 1982.

Carlos “Botong” V. Francisco (1912-1969)

Carlos “Botong” V. Francisco was one of the best mural artists the country ever had. In his paintings, he
featured Filipinos living in provincial towns and barrios. He showed them working on the field. Going about their
daily chores, eating, relaxing, worshipping, and enjoying fiestas. He also painted vital events in Philippine History.
The mural paintings he did were not only on Christian lowlanders but on Muslims and other cultural communities
as well.

The turning point of Botong’s painting career was winning the first prize at the first competition of the Art
Association of the Philippines in 1948 for his entry Kaingin. Filipino Struggle Through History, a mural gracing
the walls of Manila City Hall, was one of his major works. He stayed permanently in Angono where he became
the first major regional artist. In Angono, he refined the style he had made his own, his personal version of Post-
Impressionism grafted into the Philippine context.

Mauro Malang Santos (1928)

Maura Malang Santos was an illustrator-cartoonist for the Manila Chronicle and creator of comic strip,
Kosme the Cop (Retired) and Chain Gang Charlie. In the 1960’s, he emerged as a serious artist with a knack in
abstract painting. His illustration of Ang Kiukok formed the basis of a style in its enumeration of images, range
of warm colors, and evocation of joyous parochialism.

Jose Joya (1931-1995)

Jose Jaya graduated as a Magna Cum Laude at the University of the Philippines in 1953. He was also a
recipient of the Fulbright Scholarship at the Cranbrook Academy of Art in 1957. By the late 1950s, he had
immerses himself on new idioms of contemporary art through the print media and regular exhibitions at the
Philippine Art Gallery.

As his style evolved, he was later identified as a serious artist. After his return from the Venice Biennale,
Joya painted a few vibrant works with dramatic contrast of color and dynamic lines. In the 1960s, he started to
apply paint more thinly on canvas; the form grew increasingly geometric with circles as the main motifs.

Cadmium Red Square and Binhi, both created in 1971, represented Joya’s shift to decorative painting-
more dramatic in style and the visual tensions visible.

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FAMOUS FILIPINO COMPOSERS

Col. Antonio Buenaventura (1904-1996)

Col. Antonio Buenaventura obtained a Teacher’s Diploma in Composition and Conducting from the
University of the Philippines and later on became a faculty member of the UP Conservatory of Music.

In 1937, he was commissioned into the military service and later became music instructor and band
conductor of the PMA in Baguio City. He later on reorganized the world famous Philippine Constabulary Band
and was appointed as assistant conductor of Manila Symphony Orchestra and was a member of the UP
President’s Committee on Folk Songs and Dances. Col. Buenaventura composed short piano pieces, hymns
and songs, pieces, and theater music.

Lucrecia R. Kasilag (1917-2008)

Lucrecia R. Kasilag obtained a Music Teacher’s Diploma major in Piano from St. Scholastica’s University
in 1949. She was scholarship grantee of the Fulbright Foundation at the Eastman School of Music degree major
in theory and minor in composition. She later became the administrator of the Cultural Center of the Philippines.

Felipe Padilla (1912-1992)

Felipe Padilla de Leon was a composer, conductor and a former student of Col. Buenaventura at the UP
Conservatory of Music. After Graduation in 1939, he was appointed assistant instructor at the UP Department of
Science and Composition where he taught history and music subjects. He became a technical assistant on
cultural affairs in the Office of the President of the Philippines. He was President of the Filipino Society of
composers, Authors, and Publishers; President of the Pambansang Samahan ng mga Banda sa Pilipinas and
the Diwa ng Nuweba Esiha; trustee of the Music Promotion Foundation of the Philippines; and director of the
SONGFEST Philippines and the Felin Institute of the Philippines.

Antonio Molina (1894- 1980)

Antonio Molina, born in 1894, was a faculty member of the UP Conservatory of Music where he taught
harmony, compositions, and music history as well as violoncello. He was a conductor in the concert stage of
various schools, church, choirs, orchestra, bands, and rondallas. He composed the zarzuela Ate Maria and
hatinggabi. Molina was a member of the UP President’s Committee on Filipino Folk Songs and Dances and
Secretary of the Conservatory of Music. Aside from a being soloist and composer, he also received honors as a
conductor of the Montserrat Philharmonic Band, the Yellow Taxi Orchestra, and Yellow Taxi Rondalla and the
operas Madame Butterfly, La Gioconda, La Fuerza del Destino, and Cavalleria Rusticana.

Lucio D. San Pedro (1912-2002)

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 Lucio D. San Pedro was born in 1913. He married Gertudes Diaz with whom he had 5 children. During
his graduation in Grade VII, he played the Poet and Peasant Overture on the banjo. He started composing songs
in college and conducted the UP ROTC Band. He was assistant conductor and later, conductor and later,
conductor of the Musical Philippines Philharmonic Orchestra and a musical presented at the Metropolitan
Theatre. He won many prizes for his works. He was connected with major conservatories in the country and
wrote sacred and secular vocal music, overtures, tones, poems, symphonic poems, and quartets.

CAPSTONE ENTRY

Make ONE of the following showing your way of promoting the art of our country:

a. A personalized brochure/pamphlet.

b. A sketch of a Filipino cartoon character or Filipino superhero engaging in arts. Include a brief
description of your character’s name, identity, origin and/or powers.

c. A personally-designed magazine cover presenting the National Living Treasure Awardees.

d. An image of a national artist in our country. Include a brief description why you consider this
artist has contributed significantly in the field of arts.

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