Green Rose Center for Academe Inc.

Purok Gemelina Estaca Compostela Cebu

Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 1- Contemporary Art Forms in The

Philippines What is contemporary Arts?

 Art produced at the present period in time, includes and develops from
postmodern art, which is itself a successor to Modern art.
 Art made and produced by artist living today.
 Statement that an artist makes about life, thoughts, ideas, beliefs, and many
other things that define human life. Simultaneously reflects the realities and
values of our society, its variety portrays the mosaic of our cultural diversity is
culture.
 Contemporary art is the art of today, produced by artists who are living in
the twentyfirst century.
Contemporary art of the 21st century may combine elements of performance,
painting, sculpture, dance, and many other media. It draws on the movements
of modern art, including minimalism and assemblage art, to create dynamic
pieces that aim to challenge the viewer and spark thought. Many contemporary
artists use their
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work to comment on cultural and political issues, including race, human rights,
economic inequality, and global conflict. As the world continues to change and
impact human life on a large scale, art continues to experiment with new ways
of reaching its audience.

▪
▪
▪
▪
▪
▪
▪
▪
▪ TIMELINE OF PHILIPPINE ARTS

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The 7 Major Contemporary Art Forms in the Philippines

1. Music
- art form that appeals to the sense of hearing, composed by
combining notes into harmony.
2. Literature
- art form of language through the combined use of words,
creating meaning and experience.
3. Theater
- Art form of performance. Dramatic text is portrayed on stage by actors
and actresses and are enhanced by props, lights and sounds. form of
art in which artists use their voices and/or their bodies, often in relation
to other objects, to convey artistic expression.
4. Film
- a technological translation of theater, special effects are utilized to
enhance the story telling
5. Dance
- art of the human form, body is used, mobilized and choreographed in
a specific time, form and space.
6. Architecture, Designs and Allied Arts - structure that meant to be used as
shelter, its art relies on the design and purpose of the structure.
7. Visual Arts
- Artwork, such as painting, photography, or sculpture, that appeals
primarily to the visual sense and typically exists in permanent form.

II. Contemporary Art Practices from Various Regions

DANCE
Tinikling - Philippine dance which involves two individual performers hitting
bamboo poles, using them to beat, tap, and slide on the ground, in co-
ordination with one or more dancers who steps over and in between
poles Cariñosa - is a Philippine national dance from the María Clara suite
of Philippine folk dances.

DESIGN AND ART PURPOSE

LAPU-LAPUS SHRINE
Is a 20-meter bronze statue located in the Mactan Shrine in Punta
Engaño, Mactan Island, Cebu.The statue was erected to honor Rajah Lapu-Lapu,
the native

2
chieftain of Mactan Island who defeated Ferdinand Magellan during historic
battle of Mactan in 1521.

DANCE

HALADAYA FESTIVAL - The northernmost town of Cebu, Daanbantayan,

celebrates a festival in honor of the warrior Datu Daya of Kandaya.

Sinulog- Sinulog Festival – Dance ritual of the miraculous image of Sto.

Niño.

ARCHITECTURE - BAGUIO

3
 BURNHAM PARK

VISUAL
ARTS

Spoliarium painting of Juan Luna

Sculptures Nine Muses by Napoleon Abueva (1976) The Sketch, Portrait of the
Professor, and Poinsettia Girl.

4
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 1
Name: Date:
Parents Signature: Score:
I. MULTIPLE CHOICE: Direction, Read the sentence carefully, select the letter
of your choice and place it on your answer sheet.

1. It is a modern art form means that photograph is now viewed as being more
than just beautiful. It also considered one of the most powerful means of
education.
a. Photography as an art
b. Photography as Communication
c. Photography as an artist
d. Photographer

2. Actors learn to express themselves without exaggerated facial expression

and gestures used stage. a. Acting
b. Film making
c. Film
d. Actors

3. Juan Luna is from what province in region 1

a. Ilocos Norte
b. Ilocos Sur
c. La Union
d. Pangasinan

4. What is the famous painting of Juan Luna that won first place in
Madrid, Spain?

a. Spolaruim
b. Spollarium
c. Spolarium
d. Spoliarium

5. Contemporary art is art created in the

a. 19th century
b. 21st century
c. 18th century
d. 17th century

6. Who is the father of Philippine painting?

a. Damian Domingo b. Juan Luna
c. Felix Hidalgo d. Lorenzo Abad
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7. art of the human form
a. Dance b. OPM c. Theater d. Visual
Arts
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II. Write True or False on the following statements:

8. A technological translation of theater is MUSIC.

9. Dramatic text is portrayed on stage by actors and actresses and are

enhanced by props, lights and sounds is THEATER.

10. Art form of performance → Theater.

III. IDENTIFICATION

1. Art which is continuously in process and continues to be produced during

our lifetime is .

2. Simultaneously reflects the realities and values of our society, its

variety portrays the mosaic of our cultural diversity is .

3. Process by which the artist creates by means of movement, space,

spontaneity, and the uniqueness of the movement is .

4. National Artist in Painting in 1976; Father of Modern Filipino Painting is .

5. What are the 7 major Philippines Art Forms? Give example of each form.

6. Composed by combining notes into harmony is Music.

6
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA ASSIGNMENT 1

Name: Date:
Parents Signature: Score:

ACTIVITY 1: COLLAGE MAKING - the activity will introduce the artistic skills
which are already enhanced. Artistic skills used in creating arts. (The teacher will
make rubrics as a tool for scoring)
Make and create a collage presenting the cause and effect of climate change.

Procedure:

1. Gather pictures from any sources (internet, used magazine, etc.) cut into
pieces.
2. Assemble the cut pieces.
3. Create figures that would represent the causes and effects of climate change.
4. Paste them to the manila paper.
5. Label the causes and the effects using the black pentel pen. Put a title to
your collage.

7
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 2- Discuss Various Art Forms Found in the Philippines

What is example of arts found in the Philippines?

Visual Arts

Spoliarium painting of Juan Luna

Sculptures Nine Muses by Napoleon Abueva (1976)

8
 The Sketch, Portrait of the Professor, and Poinsettia Girl

MUSIC INSTRUMENTS OF FILIPINOS USED

1. The flat gong commonly known as Gangsa and played by the groups in
the Cordillera region of the bossed gongs played among the Islam and
animist groups in the Southern Philippines.
2. Solibao is hallow wooden Igorot drug topped with pig skin or lizard skin this is
played by striking the drum head using the palm of the hand.
3. Tongatong is a bamboo percussion instrument used by the people of Kalinga to
communicate with spirits during house blessings. It is made of bamboo cut in
various lengths. When you hit it against soft earth a certain drone reverberates
though the instrument’s open mouth. When an entire set of Tongatong is
played in interloping rhythm and prolonged with the tribal chanting, it could put
the audience and the dancers in a trance.
4. Diwdiw-asis 5 or more different size of slender bamboo that is tied together
5. Saggeypoit is a bamboo pipe that is closed on one end by a node with the
open end held against the lower lip of the player as he blows directly across
the top. The pipe can be played individually by one person or in ensembles of
three or more.
6. Bungkaka - Bamboo buzzer
7. Kulintang - refers to a racked gong chime instrument played in the
southern islands of the Philippines, along with its varied accompanying
ensembles.
8. Rondalla is performed on ensembles comprising mandolin instruments of
various sizes called banduria composed on the Iberian tradition.
SONGS PLAYED BY FILIPINOS
OPM (Original Pilipino Music) - originally referred only to Philippine pop songs,
particularly ballad
Harana and Kundiman - In the 1920s Harana and Kundiman became more
mainstream musical styles.

9
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 2
Name: Date:
Parents Signature: Score:

A. ENCIRCLE YOUR ANSWER

1. It is a form of art that refers to the staging and execution of a production like
drama, opera, festivals.

a. Dance
b. Architecture
c. Theater
d. Sculpture

2. Refers to a racked gong chime instrument played in the southern islands of the
Philippines, along with its varied accompanying ensembles.

a. Kulintang
b. Rondalla
c. Bungkaka
d. Tongatong

3. Identify the 7 major arts form in the Philippines.

4. Is OPM considered a contemporary art?

a. Yes
b. No

5. Metropolitan is what contemporary art form in the Philippines?

a. Painting
b. Architecture
c. Dance
d. Theater
B. Consider yourself as a Contemporary Artist in the 21 st century. In the seven major
forms of Contemporary arts, select one and explain your work. (The teacher will
make rubrics as a tool for scoring)

10
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 3- Various Contemporary Art Forms

Various Contemporary Art Form
Speaking of art, there are many words that will always pop up in our mind.
When we say forms, classifications we can name them one by one. Today, we
will discuss various art forms of contemporary arts.

1. PRACTICAL ( Utalitarian) ART . This art is intended for practical

for practical use or utility. It is the changing of raw materials for
utilitarian purposes. However, they must possess ornaments or artistic
qualities to make them useful and beautiful.
2. INDUSTRIAL ARTS. It is the changing of raw materials into some
significant products for human are shell craft, bamboo crafts, leather
craft, pottery making, sheet – metal work and manufacture of
automobiles, home appliances and televisions set.
3. APPLIED / HOUSEHOLD ART. It refers mostly to household arts
such as flower arrangement, interior decoration, dress making, home –
making, embroidery, cooking and others.
4. CIVIC ART. This art includes city or town planning, maintenance,
and beautification of parks. This refer to beautification to improve the
standards of living.
5. COMMERCIAL ART. It involves business propaganda in the form of
advertisements in newspapers and magazines, sign painting, billboard
and announcements, leaflets, displays, poster designing, movie
illustrations and many more.
6. GRAPHIC ART. It is anything printed from raised or sunken reliefs
and plane surfaces.
7. AGRICULTURAL ART. (crop production), horticulture (garden or
orchard cultivation), husbandry (raising of cows, carabaos, poultry
and swine) and farming.
8. BUSINESS ART. This includes merchandising, accounting,
bookkeeping, typewriting, stenography, salesmanship, and business
administration.
9. FISHERY ART. It includes shallow and deep-sea fishing, fish
refrigeration and culture, net weaving.
10. MEDICAL / CLINICAL ART. It includes first aid treatments,
medical manufacturing, surgery, medical operation,
rehabilitations and other
(crafted:Bryanhttps://www.slideshare.net/bryanaortiz5/contemp orary-
arts-in-thephilippines)

11
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 3
Name: Date:
Parents Signature: Score:
I. Classify the following art forms. Use the legends below:
*MA – medical art *FA – fishery art *BA – business art
*AA – agricultural Art *GA – graphic art
*PA- practical art *IA – industrial art
*CA – commercial art *CA – civic art,
*PA – practical art

1. 2. 3.

4. 5. 6.

7. 8. 9.

10.

12
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 4 A- Philippine Art History

Philippine Art History

I. Pre-Colonial Arts /
Ethnic Arts

Was there art before colonization?

In art chronicle terms, we
imply art a few times as of late the
coming of the essential colonizers
as “pre - triumph”. In expound
terms, we insinuate to
it as natural the thought that our
forerunners, have been making art without a doubt a few times as of
late colonization. It is also described in
cultural
terms as “pre-colonial” as a term to use the general way of life before
colonization. Although the terms are interchangeable, it is also useful
to keep these distinctions in mind when studying the art of the past
In Pre – colonial Philippines, arts are for ritual purposes or for
everyday use. Art of the ancient Filipinos were woven into the fabric of
everyday life. They do not refer to art as we do today. That is, as an
expression of an individual, and seen largely in galleries and concert
halls. They do not distinguish forms into different categories like
music, theater, visual arts, etc. Everyday expressions were all
integrated within rituals that marked significant moments in a
community’s life, like planting, harvesting, rites passage, funerary,
ceremonies, weddings, among others. (crafted from: Faludette May
Datulin et. al, 2016. Contemporary Philippine Arts of the Regions p.
15)
Our ancestors, just like others in the world during those times,
were hunter gatherers. The forefathers hunted food and game that
were shared among members of a community in a gathering where
they told stories about the hunt. They imitated the movement of
animals and prey, and the sounds that they made. But how do arts
apply?
In this simple activity alone evolved ritual, music, dance, theater
and yes even literature. When they told stories about the hunt, this
13
form of oral story telling marked the beginnings of the literature. When
they imitated movements of the animals they hunted, this marked the
early

14
beginnings of theater or play acting. When they learned to add drum
beating and attach rhythm to their movements, they have given birth
to music and dance
The pre- colonial peoples of the Philippines already possessed a
varied and vibrant musicale culture. The country’s indigenous cultures
through the existence of ethnic musical instruments such as pipes ,
flutes, zithers, drums, various string instruments like kudyapi a three
stringed guitar, the kulintang – an array bossed gongs, the gansa or
flat gong, bamboo percussion instruments, and the gong – large
bossed gong.

The following are the native dance forms imitated from the
movements of the animals:
1. Pangalay dance (Sulu) is mimetic of the movements of the sea
birds
2. Mandaya’ Kinabua, Banog – banog (Higaonon & B’laan), and
ma- manok (Bagobos in Mindanao is imitated the movements of
predatory birds.
3. Talip dance (Ifugao) that is used for courtship is mimetic of the
movements of wild fowls.
4. Inamo dance (Matigsalugs) and Kadaliwas dance (T’Boli)
represent the comedic movement of the monkey
5. Tinikling dance evocative of the movements of the crane,
balancing itself on stilt – like legs or flirting away from the
clutches of bamboo traps.

Famous artworks during pre – colonial

1. Carving
• Bulul (Cordillera) a granary God that plays an important role
in rituals
• Hagabi (Ifugao) a wooden bench
• Santos / sculptures of saints (Laguna and Pampanga)
• Okir (Tausug / Samal / Badjao) mythical sarimanok, the
naga or serpent.
• Manunggul Jar discovered at Manunggul cave of Palawan

2. Weaving

• Textile weaving
a. Pis siyabit (Tausug of Sulu) a headpiece woven
b. Malong (Maranao of Lanao del Sur)

15
 • Mat and basket weaving
a.Tepo mat (Sama of Tawi-Tawi) a double layered
made of Pandan leaves.
b.Ovaloid basket (Itbayat, Batanes) a head sling made
of nito or bamboo used to carry the harvests.
c.Bubo (Ilocos region) a sturdy bamboo strips used to
trap the fish.

3. Ornamentation - representations of various ethnolinguistic

groups.
a. Wearing gold jewelry (upper class Tagalog)
b. Tattooing (Visayan) it is believed to protect the
individual from evil spirits, it is also a sign of bravery
and maturity.

II. ISLAMIC ERA

TH
(13 Century to the Present)

How did Islam influence

art before the coming of
Spanish colonizers?
Islamic is
characterized by
geometric designs and patter
selecting focus from the
believers. Even before the
coming of Spanish colonizers,
Islam was already well
entrenched in Southern
Philippines. Filipino Source: https://bit.ly/2VqsfLY
Muslims recognize that they belong to an ummah or a
community

of believers. Central to the Islamic faith is the doctrine of or unity of

God. This belief emphasizes the impermanence of nature and the
incomprehensible greatness of the Divine Being.
In Islamic art we can observe how artist are influenced by
the notion of the Tawhid, we will find that the interior of mosques are
covered with elaborate patterning in the form of reliefs to draw the
attention away from the concrete object, in other words away from
human forms and nature” toward the contemplation of the divine” (
source: Faludette May Datulin et. al , 2016. Contemporary Philippine
Arts of the Regions p. 19)

16
 Happenings during Islamic era
1. Sultanate of Sulu was established Sayyid Abbubakar
2. Qura or holy text was introduced
3. Building of religious school called Madrasah
4. Natives from Yakans , Basilan and Zamboanga were
converted to Islam
5. Islamazation process In Mindanao became strong.
6. Islam became the religion and as a way of life of people in
Mindanao (Tausug, Maranao, Maguindanao, Yakan, Samal,
Badjao).

III. SPANISH ERA

(1521 – 1898)
What kinds of art
developed during Spanish
Colonization?
Art became a hand
maiden of religion, serving
to propagate the Catholic
faith and thus support the
colonial order at the same
time. Religious orders
were dispatched to
convert the natives to
Catholicism as part of the
lhttps://bit.ly/2VqsfLYl larger
project culturally as
religious art, lowland Christian art or folk art. During this period,
cruciform churches following the shape of the latin cross were built. In
keeping with the prevailing, they were characterized by grandeur,
drama, and elaborate details that purposely appealed to the emotions.
The use of adobe, limestone or brick and the construction of thick
buttresses or wing like projections reinforce the church structure to
make it more resistant to earthquake. In other words, the result is a
fusion of both native and European elements, prompting some art
historians to refer to the style as colonial baroque or Philippine or
tropical baroque. (source: Faludette May Datulin et. al, 2016.
Contemporary Philippine Arts of the Regions p. 31)

Important Happenings related to art during Spanish era

• Chinese artisans were engaged in making icons or saints
made in wood or ivory
• Colonial churches were built
• Western musical instruments were introduced, pipe
organ, violin, guitar, and piano
17
• Catholic liturgical music was introduced in 1742
• Choral music to boys were introduced and created the
first Filipino composers named Marcelo Adonay (1848 –
1928)
• Musical form based on Catholic faith have emerge in the
Pasyon – the biblical of Christ’s passion chanted in an
improvise melody.
• Secular music was formed; the awit and the corridor –
these were the two musical forms based on European
literature and history.
• Kundiman became a vehicle for conflict – the lyrics
were that of unrequited love, except that the love object
was the Philippines who would be cleverly concealed as
beautiful woman.
• Mangyans made the baybayin script made of bamboo
poles cut into smaller nodes that are carved used to
composed short poems, expressing one’s feelings and
other emotional concers.Pomp and pageantry of religious
processions were introduced.
• Zarzuela was introduced, it was an opera which
features singing and dancing with prosed dialogue which
allowed the story to be carried out in a song.
• Severino Reyes and Hermogenes Ilagan were
awarded as the most distinguished playwrights as they
wrote zarzuela in Tagalog
• Honorata “ Atang” dela Rama awardeded as the
most celebrated leading actress
• The first Senakulo was written in 1704 by Gaspar
Aquino de Belen
• Komedya were also introduced; komedya de santo (it
centers on life of Christ ) and Secular Komedya.
• Folk dances such as carinosa, pandango, polka , dansa
and rigodon, habanera, and tango were introduced.
• Visual arts, and paintings must be visual interpretation of
biblical texts center to Catholic devotion ex. Heaven
Earth and Hell by Jose Dans ( 1850)
• Reprographic art of printmaking was introduced,
Doctrina Christiana is an example, the first printed book
in the Philippines compiling song lyrics, commandments,
sacraments and other catechetical material.
• Juan Luna ( Spolarium) won gold medals and Felix
Resurrection Hidalgo (Virgenes christianas
expuestas al populacho) won silver medals

18
Famous Artists and their artworks during Spanish era:

Visual Arts:
1. Damian Domingo – water color albums of tipos
2. Juan Luna – Spoliarium, Espana y Filipinas
3. Felix Resurrection Hidalgo – Virgenes christianas expuestas
al populacho
4. Lorenzo Guerrero - The Water Carrier
5. Simon Flores – Portrait of the Quiazon Family
6. Jose Dans – Heaven , Earth , Hell
7. Esteban Villanueva - Basi Revolt

7
Miniature painters Engraver:

1. Antonio Malantic 1.
Francisco Suarez
2. Isidro Arceo, 2. Nicolas
Engraver
3. Dionesio de Castro 3. Laureano
Atlas
4. Justiniano Assuncion 4. Felipe
Sevilla

Musician – Composer Theater artist:

1. Marcelo Adonay 1. Honorata “

Atang” dela Rama

Writers:

1. Severino Reyes - Zarzuela

2. Hermogenes Ilagan – Zarzuela
3. Gaspar Aquino de Belen - Senakulo

19
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 4 A
Name: Date:
Parents Signature: Score:
1. What aspects of the traditional or academic, modern, or the contemporary are
you inclined toward and how would thus be evoked in your work? Make a
self-portrait and explain the medium and techniques you used, as well as the
style you choose. If you cannot draw, take a selfie and retouch according to the
style you prefer. Explain. (the teacher will make rubrics as a tool for scoring)

2. What fiesta traditions do you observe in your hometown or to the place

where you currently live? What is the fiesta held and what does it
commemorate? What are its rituals and activities? Choose a form (fiesta
décor, culinary art, performing art etc.) describe and explain its origins.
Interview an older member of the family or latter. Share your notes in
class supplement with pictures. (the teacher will make rubrics as a tool for
scoring)

20
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 4 B- Philippine Art History

IV. AMERICAN ERA

(1898 – 1940) to the
Post war Republic
(1946– 1969)

What were
the changes
brought about
by American
Colonization?
How were they
differ from the
religious forms
of the Spanish
colonial period
?

In the American regime, commercial and advertising arts were

integrated into fine arts curriculum. Moreover, Americans favored idyllic
sceneries and secular forms of arts. Becausethe lingua franca of this
period was English, poems and stories from books were dramatize in
classroom, to facilitate the teaching of the English language. Unlike, the
Spanish, the Americans passionate thought their language through an
efficient public school system.
In less than decade, Filipino playwrights began to write plays in
English.In the beginning of the 20th century, new urban pattern that
responded to the secular goals of education, health and governance
was imposed. The new patrons of the arts included the Americans who
engaged in governance and education, business and tourism. The
demand for artists who could do illustrations in textbooks or graphic
design to product labels thus emerged. The inclination towards genre,
still life and portrait paintings persisted. Landscapes on the other hand,
became cherished as travel souvenirs, especially those that captured

21
the

22
exotic qualities of Philippine terrain. In 1909, a year after the
establishment of the University of the Philippines, its School of Fine
Arts was opened. It also offered a course on commercial design to
fulfill the aforementioned demand. For some time, the academic ( a
term referring to the kind of art was influenced by European
academies) tradition of painting and sculpture in the manner of
Amorsolo and Tolentino prevailed in the art scene.(crafted from:
Faludette May Datulin et. al , 2016. Contemporary Philippine Arts of
the Regions p.28 -29)

Famous Artist during American era

1. Juan Abad – Tanikalang Ginto (Golden Chain) (1902)

2. Juan Matapang Cruz – Hindi ako Patay ( Iam Not Dead)
1903
3. Aurelio Tolentino – Kahapon , Ngayon at Bukas
(Yesterday, Today and Tomorrow )
(The above 3 artists emphasized their works a deep
profound yearning for freedom.)
4. Lino Castillejo (author) – A Modern Filipina
First Filipino written in
5. Jesus Araullo (author) – A Modern Filipina
English
6. Daniel Burnham (architect) - He design Manila and Baguio
7. William Parsons – implanted Burnham Plan – an urban
designed employed Neoclassic architecture.
8. Thomas Mapua
9. Andres Luna de San Ped Filipino architects
who designed buildings
10. Antonio Toledo during the
period
11. Fabian dela Rosa (naturalists Painter) – Planting Rice
(1921), El Kundiman( 1930) 12. Fernado Amorsolo
• romantic painter – Dalagang Filipina, idyllic
landscapes, historical paintings
• graphic artist –The Philippine Readers (book) The
Independent ( newspaper)
• logo designer - Ginebra San Miguel.
12. Guillermo Tolentino (sculpture ) – Oblation ( 1935) UP
Oblation ( 1958 ) Bonifacio Monument ( 1933).

23
 V. JAPANESE ERA (1941 – 1945)

Since the
Japanese advocated
for the culture of East
Asia, preference was given
to the indigenous art and
traditions of
the Philippines. This
emphasized their
propaganda in Asia.
Under the
Japanese occupation
of Manila, the Modern Art
Project would slow down in pace. Early moderns and conservatives
alike continued to produce art and even participated in
https://bit.ly/3g0A0Qw
KALIBAPI ( Kapisanan sa Paglingkod ng Bagong Pilipinas) sponsored
art competitions. Nevertheless, art production once again tilted to fulfill
the agenda and demands of the new colonial order. The Japanese
forces led the formation of the greater East asia Co – Prosperity
Sphere, a propaganda movement that sought to create a Pan – Asian
identity rejected Western traditions. The productions of images, texts,
nd music underwent scrutiny. In music, the composer National Artist
Felipe de Leon was said to have been commanded to write AWIT SA
PAGLIKHA NG BAGONG PILIPINAS. Declared as the anthem
specifically for the period, it conveyed allegiance to the nation reared in
East Asia, where Japan was actively asserting its political power.
Genre paintings were the most widely produced, particularly
those that presented a neutral relationship between Filipinos and the
Japanese through works that showed the normality of daily living.
(crafted from: Faludette May Datulin et. al, 2016. Contemporary
Philippine Arts of the Regions p. 15)

Famous artist and their artworks during Japanese era

1. Fernado Amorsolo (painting)

• Harvest scene, 1942
• Rice Plating, 1942
• Bombing of the Intendencia (1942)
• Ruins of Manila Cathedral (1945)

24
 2. Sylvia La Torre (song)
• Sa kabukiran
3. Levi Celerio (composer)
• Sa Kabukiran
4. Felipe P. de Leon (composer)
• Awit sa Paglikha ng Bagong Pilipinas
5. Crispin Lopez (painting)
• Study of an Aeta (1943)
6. Diosdado Lorenzo (painting)
• Atrocities in Paco
7. Dominador Castaneda (painting)
• Doomed Family (1945)

VI. MODERN ERA (Neo

Realism, Abstraction
Modern styles)

What is Modern Art?

Modern art is quite different from
contemporary art especially when in
terms of history and styles.
Modern era in the Philippine art
began after World War 2 and the
granting independence. Writers and Artists posed the question of
national identity as the main theme of various art
forms.
https://bit.ly/2NAlIdi
It is referred to as “traditional compared to contemporary art.
The styles of modern art for example are now part of art and curricula
and have become academic.
The most well- known proponent of Modern art painting is
Victorio Edades whose work were initially rejected and misunderstood
but later on his modernist sensibility was shared by several artists. In
this era artists explored various mediums, techniques and themes that
were at that time considered “new”.
There was an exploration of subject matter, content, and form.
Using modernists figuration, many of the artists explored folk themes
and also crafted commentaries on the urban condition and the effects
of the war.
Modern artists do not aim to copy and idealize reality; instead,
they change the colors flatten the picture instead of creating illusions
of depth, nearness and farness. They depict what might be thought of
as “ugly “and unpleasant instead of the beautiful and pastoral.
Another strand of Modern art is abstraction. It consists of
simplified forms, which avoided mimetic representation. It is
25
sometimes

26
referred as nonrepresentational or nonobjective art as it emphasizes
the relationship of colors, line, space or the flatness of the canvas
rather than an illusion of three dimensionality. ( crafted from:
Faludette May Datulin et.
al, 2016. Contemporary Philippine Arts of the Regions p. 15)

Modern famous artists and their artworks

• Neo Realists Artist
1. Manansala – The Beggars (1952), Tuba Drinkers (1954),
2. Legaspi – Gadgets II (1949), Bad Girls (1947)
3. HR Ocampo – The Contrast (1940), Genesis (1968)
4. Ramon Estella
5. Victor Oyteza
6. Romeo Tabuena
• Abstractionist Artists
1. Constancio Abenardo
2. Lee Aguinaldo
3. Jose Joya
4. Fernando Zobel
5. Arturo Luz – Street Musicians (1952)
6. Nina Saguil - Cargadores (1951) Modern Architectural
structures:
1. Church of
2. Church of the Risen Lord Holy Sacrifice
3. Chapel of Saint Joseph the worker (1955)

VII. CONTEMPORARY
ART.

What is
contemporary
art? Is it
similar to
Modern art?

What are the

general
characteristics of contemporary art?
Contemporary art is much different from Modern art as it said earlier
modern art is referred “traditional” compared to contemporary
art. How would that be? An example is the work of Fernando
Amorsolo, he painted his painting “Harvest

27
Scene in 1942. At that time, the
painting was considered contemporary. Today, we refer to that work
as an example of Modern art produced during Japanese era. But some
of the artists continue to produce work ‘til today and in that sense
their works can be describe as contemporary by virtue of being of the
present.
What contemporary really is? Contemporary art is an art of
today produced by artists living of today. It is a fluid term, and its use
can change depending on the context.
Philippine Contemporary Art was an offshoot of social realism
brought about by Martial Law. Arts became expression of people’s
aspiration for a just, free and sovereign society.
Artists use mixed media. Their artworks are site specific, process
- based and they integrate various art forms.
Contemporary art has the following characteristics;
a. collaborative / participative
b. interactive
c. Process - oriented (meaning that there is less
emphasis on the finished product and a single author
or creator. There is a wide range of strategies, media
and techniques)
d. Site specific (they cannot be experienced in the same
way if we remove from their original place.

Contemporary art is distinguishable from Modern art in historical, stylistic, and

cultural terms.

28
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 4 B
Name: Date:
Parents Signature: Score:
Multiple Choice. Select the letter of the best answer from among the given
choices.
1. It is considered as a pre – triumph era.
A. Japanese era C. Modern era
B. Pre – Colonial era D. Contemporary era

2. It is anything printed from raised or sunken reliefs and plane surfaces

A. Civic art C. Practical art
B. Commercial art D. Graphic Art

3. It is the changing of raw materials into some significant products

A. Industrial art C. Graphic Art
B. Practical art D. Commercial Art
4. Pis siyabit is an example of .
A. ornamentation C. weaving
B. tatooo D.Carving

5. A period in which focuses on idyllic sceneries and secular forms of arts

A. Modern era C. Contemporary era
B. American era D. Pre – colonial era
6. He is one of the abstractionist artists.
A. Fernando Amorsolo C. Juan Luna
B. Romeo Tabuena D. Arturo Luz

7. It is an art of today produced by artists living of today.

A. Modern era C. Contemporary era
B. American era D. Pre – colonial era

8. This art use for or utility, changing of raw materials for utilitarian purposes.
A. Industrial art C. Graphic Art
B. Practical art D. Commercial Art

9. He wrote the national anthem during the Japanese period entitled Awit sa
Paglikha ng Bagong Pilipinas
A. Julian Felipe C. Marcelo Adonay
B. Felipe de Leon D. Ryan Cayabyab
10. An era focuses on geometric and design.
A. Islamic era C. Modern era
B. American era D. Pre – colonial era

29
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
Subject: Contemporary Philippine Arts Across Regions
LESSON 5 - The Contemporary in Traditional Art: Gawad sa Manlilikha ng Bayan ( GAMABA)

In one form or another art has always been around. It helps mankind in
the improvement of various activities and their products. It has a varied
and multiple complex. It is as wide as an ocean, covers a wide range of
activities such as photography, painting, sculpting, and architecture, etc.
But as time rolls by newer forms of art arose, such as music, theatre,
and photography, etc., in which are now a days considered the most
beautiful types of performing arts.

From the preceding lesson we have learned that traditional

arts, like the pre - colonial indigenous arts are also contemporary.
They are living traditions and are produced up to the present, in
modified ways.

In this lesson, you will learn about our National living treasures, more
formally known as the awardees of Gawad sa Manlilikha ng Bayan
(GAMABA).

Their incomparable dedication to craftsmanship and

excellence show how these Filipinos lives and work. Many cultural
practices of indigenous communities were preserved because of
their passion, abilities, and tenacity in passing down their tradition
to the youngsters. It’s one thing to be recognized as a living
legend of the arts in the Philippines, and it’s a whole other thing
completely to be acknowledged as an artist who has kept a rare
sort of traditional Filipino creativity and ingenuity alive.

In 1992, the National Commission on Culture and therefore

the Arts (NCCA) began selecting and honoring recipients of the
National Living Treasures Award, also referred to as Gawad sa
Manlilikha ng Bayan (GAMABA), through Republic Act No. 7355. It
continues to be awarded today and is handed out in the form of a
medal.

30
 Photo Credit: https://bit.ly/37Grcwe

The picture above shows the thirteen National Living

treasures who have possess technical and creative skills, creating
work with fine artistic quality, and ties to community and folk-art
traditions. More than that, they show a strong character and
unfaltering integrity, leading them to earn the respect and
admiration of the people.

The awardees yield art forms that are entwined into daily
life. These proves how pre - colonial traditions continue through to
the present.
How does tradition become contemporary, and the
contemporary traditional? (retrieved from
Contemporary Art from the Regions textbook (2016
pp.57) 1

Traditional art is based on indigenous people’s cultures that

are largely honed by oral tradition. It finds deep affinities with
nature, place, society, ritual, and spirituality and everyday life. In
traditional integrative art, forms and expressions do not normally
end up as objects distanced from everyday living. The site of
dissemination and knowledge transfer is neither in the formal
spaces of a museum nor a theater. The process of creation is
usually shared among members of the community, and appeals to
broader aspects of life.(extracted from Contemporary Art from the
Regions textbook , Flaudette May Datulin et.al pp. 58 ) Thus, it
emphasis on the intangible and communal aspects of art
production that are closely aligned with the process based and
collaborative inclination of some contemporary art practices.

The worker of a farmer named Teofilo Garcia of San Quintin

in the Province of Abra, 2012 GAMABA awardee who have
discovered and popularized the durable tabungaw hat out of
enlarged upo or gourd. He hollowed out the upo / tabungaw,
varnished and polished it to make it more durable and unique
yellow sheen.

31
 He used different mediums such as varnish to strengthens
organic material, strips of rattan (uway) to line the hat, fern (nito)
is placed on the mouth of the hat as decoration. He intended to
transform the harvest into durable hats to protect the people who
are exposed for long hours under the heat of the sun, especially
the farmers. Until now, he shared his knowledge and skills of
making the Tabungaw hat at San Quintin National High School
and inspires the youth to value tradition and to ensure its
preservation.

Base from the given example of the work of Teofilo Garcia,

we reiterate that Philippine traditional art, though based on long -
standing , established practices, has always been contemporary in
a sense that it is art that is being made now, and that it persists
as part of continuing performance of tradition ((extracted from
Contemporary Art from the Regions textbook , Flaudette May
Datulin et.al pp. 57 ) .

On the other hand, contemporary-traditional art refers to

an art produced at the present period that reflects the current
culture by utilizing classical techniques in drawing, painting, and
sculpting. Practicing artists are mainly concerned with the
preservation of time-honored skills in creating works of figurative
and representational forms of fine art as a means to express
human emotions and experiences. Subjects are based on the
aesthetics of balancing external reality with the intuitive, internal
conscience driven by emotion, philosophical thought, or the spirit.
The term is used broadly to encompass all styles and practices of
representational art, such as Classicism, Impressionism, Realism,
and Plein Air (En plein air) painting. Technical skills are founded in
the teachings of the Renaissance, Academic Art, and American

What is GAMABA?
The word GAMABA stands for GAWAD SA MANLILIKHA NG BAYAN
( National Living
Treasures). It is an award given to recognize the outstanding work
of the artists in the
Philippines. The given award was established in 1992 through
Republic Act No. 7355 until 2012. There were thirteen finest folk
artists of the land who have received this distinction for their
dedication in creating the craft, using skills, and indigenous
methods and materials. Artists who received the recognition for
preserving the traditional art of the Philippines which kept the art
alive even in the contemporary period (Sandagan & Sayseng 2016).
Who are the GAMABA awardees? What are their qualifications?
The GAMABA awardees are the people who have adopts a
program that will ensure the transfer of their skills to others. They
32
undertake
measures to promote a genuine appreciation of traditional craft and

33
art and instill pride among our people about the skill of the Gawad
sa Manlilikha ng Bayan (GAMABA). Filipinos conferred as the
forefront of the practice, preservation, and promotion of the
nation’s traditional folk arts.
(https://aboutphilippines.org/files/Gamaba-Awardees.pdf)
To become a GAMABA awardees is same as joining a contest
there are mechanics and guidelines to follow.
1. Must be an inhabitant of an
indigenous/traditional cultural community
anywhere in the Philippines that has preserved
indigenous customs, beliefs, rituals and traditions
and/or has syncretized whatever external
elements that have influenced it.
2. Must have engaged in a folk-art tradition that
has been in existence and documented for at
least fifty (50) years.
3. Must have consistently performed or
produced over a significant period, works of
superior and distinctive quality.
4. He/she/group must possess a mastery of
tools and materials needed by the art and must
have an established reputation in the art as
master and maker of works of extraordinary
technical quality.
5. Must have passed on and/or will pass on to
other members of the community their skills in
the folk art for which the community is
traditionally known.

GAMABA Awardees

Uwang Ahadas, musician

A Yakan of Lamitan, Basilan was

awarded for his dexterity in playing Yakan
musical instruments such as the
kwintangan, gabbang, agung, kwintangan
kayu, tuntungan among others. He has a
deep knowledge of the aesthetic
possibilities and social contexts of those
instruments. In spite of the dimming of his
eyesight, he has devoted his life to the
teaching of Yakan musical traditions
34
 Yakan musical instruments are not the easiest or most affordable
to maintain, but Uwang Ahadas of Lamitan, Basilan made it his
life’s work to master them. From an early age, he and his siblings
were encouraged to play these instruments, and he developed a
passion for them, training himself by observing older members of
the community. At age 20, he broke tradition by reaching
excellence in playing the kwintangan, an instrument typically
played by a woman. The instrument, made up of logs arranged
beneath a tree near a rice field, is used to call for abundant grains
and rice growth. He is also dedicated to sharing his knowledge to
younger folk; his teaching style is hands-on and supportive, giving
his students his full attention. He was awarded in 2000.

Magdalena Gamayo, textile weaver

Based in Pinili, Ilocos Norte, Magdalena Gamayo took up

weaving when she was 16, guided by her aunt’s patterns. She
received her first loom from her father three years later, which she
would end up using for 30 years. She taught herself traditional
patterns, such as kusikus (whirlwind), marurup (Milky Way), and
sinan paddak ti pusa (cat’s pawprint), building on the more
common inuritan (geometric design) and sinan-sabong (flowers)

.Gamayo’s skill and instinct are none more apparent than they are
in her ability to replicate designs she’s only seen once. Her
binakol, or woven cloth, continues to draw praise and awe for its
above- average thread count and uniform weave. To keep Ilocos’
abel weaving tradition alive, she teaches her practice to her
cousin’s daughter-in-law and sister-in-law. She was awarded in
2012.

Eduardo Mutuc, metalsmith, and artist

A Kapampangan from Central Luzon is

recognized for reviving the Spanish colonial-era
craft of Plateria. This self-taught master
craftsman found his calling in producing
religious and
secular art in silver, bronze, and wood. In doing so, and in his
pursuit of perfection for himself and his apprentices, he assures the
continuity of this rich tradition.4 Having finished up to elementary
school, Eduardo Mutuc, a farmer at the time, became an apprentice
to furniture carvers to earn additional income. He had no prior
knowledge of the work he was getting into, but this did not stop
35
him from expanding his experience and becoming one of the most
respected creators of religious and secular art today. He uses wood,

36
silver, and bronze to create exquisitely detailed and lifelike pieces of
varying sizes: altars, mirrors, retablos, and even carosas. Mutuc is
based in Apalit, Pampanga. He was awarded in 2004.

Lang Dulay, T’nalak weaver

A T'boli of Lake Sebu, South Cotabato, was awarded for

weaving the abaca ikat cloth called t'nalak . She has produced
creations which remain faithful to the T’boli tradition as
manifested in the complexity of her design, fineness of
workmanship and quality of finish. In Lang Dulay’s family, the
weaving of the t’nalak (a fine abaca cloth) took place before or
after farm work, when the weather was cool and the conditions
were better for the product. Dulay, who grew up in Lake Sebu,
South Cotabato, was taught to weave by her mother when she
was 12. As demand grew for new designs, she persisted and kept
working with traditional patterns, even though they were harder
to complete — she knew around a hundred, including
bulinglangit (clouds), kabangi (butterfly),
crocodiles, and flowers. She valued purity, so much so that she
never washed her t’nalak with soap. She was awarded in 1998 and
died in 2015.

Samaon Sulaiman, musician

A Maguindanaon of Mamasapano,
Maguindanao. He was awarded for his
outstanding artistry and dedication to his
chosen instrument, the Magindanao
kutyapi. Kutyapi is a two-stringed
plucked lute, regarded as one of the most
technically demanding and difficult to
master among Filipino traditional.
Musician Samaon Sulaiman was a master of the kutyapi, a
two-stringed lute that requires highly technical skill to play. The
Maganoy, Maguindanao native learned from his uncle, Pinagunay,
at age 13, developing and learning different forms and styles of
playing the instrument.

The sound is melodic and rhythmic, its effect meditative

and captivating. He was also proficient in playing instruments such
as the kulintang, agong (a suspended gong with a wide rim),
gandingan (a gong with a narrow rim), and tambul. Sulaiman’s
fascination for his craft led him to become an influential teacher.
He was awarded in 1993 and died in 2011.
37
 Haja Amina Appi, Pandan mat weaver

Lives in Ungos Matata, Tandubas, Tawi-

Tawi,. She is recognized as the master mat
weaver among the Sama indigenous community
of Ungos Matata. Her colorful mats with their
complex geometric patterns exhibit her precise
sense of design, proportion and symmetry
and sensitivity to color.

Weaving pandan mats is a long and difficult process that is

handed down from woman to woman across generations: Pandan
leaves are harvested and made into narrow, long strips, sun-dried,
pressed, and dyed before finally becoming suitable for weaving.
The resulting mats are used for sleeping and saying prayers or
given as gifts to newly-weds. Haja Amina Appi of Ungos Matata,
Tandubas, Tawi-Tawi created intricate mats that boast beautiful
geometric designs, vibrant colors, and fine symmetry. She was
awarded National Living Treasure in 2004. She experimented with
her work and developed her own tints to create the hues she had
in mind. Appi died in 2013, but her art lives on through her
children and other young women in her community.

Federico Caballero, chanter and educator

A Panay-Bukidnon of Calinog, lloilo

was awarded for his mastery of chanting
the sugidanon, the epic tradition of Central
Panay. He ceaselessly worked for the
documentation of the epics of his people
painstakingly piecing together the elements of
this oral tradition nearly lost. He was best known
for his expertise in the Sugidanon, a Central
Panay epic traditionally chanted while lying on a
hammock, and his work in the preservation of
oral literature, documenting 10 Panay-Bukidnon
epics in an extinct language with close ties to
Kinaray-
a. His love of folklore began when he was young,
hearing tales of grand adventures as bedtime
stories, and his mother taught him to recite epics
in lieu of doing household chores. In his spare
time, he also works with the Department of
Education’s Bureau of Non-Formal Education,

38
 teaching elders to read and write. He was
awarded in 2000.

Ginaw Bilog, poet

A Hanunuo Mangyan of Mansalay, Oriental Mindoro.

Awarded for faithfully preserving the Hanunuo Mangyan script
and Ambahan poetry. He has promoted the local script and
poetry so that the art will not be lost but preserved. The
Mangyan script is one of the four remaining syllabic scripts in
the country, and Ginaw Bilog’s work has been crucial to its
preservation. Based in Mansalay, Oriental Mindoro, the poet
was known for writing
Ambahan (a metaphoric poem comprising seven-syllable lines),
first in a notebook, then on traditionally used bamboo tubes. The
poems,
often recited with music at social
gatherings and used to convey messages
among the Hanunuo Mangyan, had topics
like advising the young, bidding a friend
goodbye, and asking for a place to stay.
Bilog, who was awarded in 1993, died in
2003.

Salinta Monon, textile weaver

A GAMABA awrdee of Tagabawa Bagobo of Bansalan,

Davao del Sur. She was awarded for fully demonstrating the
creative and expressive aspects of the Bagobo abaca ikat weaving
called Inabal at a time when such art is threatened with extinction.
Salinta Monon was 12 when she began learning to weave the
Inabal, a traditional Bagobo textile. In her home in Bansalan,
Davao del Sur, Monon would isolate herself from family to be able
to concentrate on creating her cloths and skirts, which took three
to four months to finish, respectively.

Her favorite pattern, despite or because of its difficulty, was

the Binuwaya (crocodile), and she continued weaving until her
death in 2009. For her, not only was it a source of income, it was
a source of pride as well. She and her younger sister were the
only Bagobo weavers left in their community, and she dreamt of
having a structure built for teaching new would-be
weavers. She was awarded in 1998.

39
 Darhata Sawabi, textile weaver

A GAMABA awardee of barangay Parang, Jolo Island, Sulu

province. Has preserved the art of Pis Syabit weaving. It is
difficult art of tapestry weaving that creates the traditional
squares used by the Tausug for ornamentation. Despite the
conflict in Jolo, Sawabi’s dedication to her art enhanced the
preservation of traditional Tausug designs. Darhata Sawabi’s
mission was to lead young women towards making a living out of
her craft. The Parang, Sulu-based textile weaver’s primary creation
was the headpiece Pis Siyabit — pis stands for the pattern, which
is said to be derived from India’s mandala, depicting spirituality
through geometric forms, and Siyabit refers to the hook and
technique. She gained recognition for the precision of her work
and her passion for preserving traditional designs, as well as
teaching the youth and was awarded in 2004. She died in 2005.

Teofilo Garcia, gourd hatmaker

A GAMABA awardee of San

Quintin Abra who have discovered and
popularized the durable Tabungaw hat
out of enlarged upo or gourd. He
hollowed out the upo / tabungaw,
varnished and polished it to
make it more durable and unique yellow
sheen. In San Quintin, Abra, Teofilo Garcia
would often walk around town wearing his
gourd casques. Through word of mouth and
his participation in the annual local harvest
festival, Garcia was able to introduce the
Tabungaw plant as a good and sturdy
material for functional, elegant, and protective
hats. He produces everything he needs —
planting and harvesting the gourds, splitting,
and refining rattan for the lining, and weaving
Nito and bamboo for accents himself — and
usually takes seven days to finish a hat.
Awarded in 2012, he continues to experiment
and work on new designs.

40
 Alonzo Saclag, traditional
dancer and musician

A Kalinga of Lubuagan,
Kalinga was awarded for his mastery
of the Kalinga dance and the
performing arts. He was also
recognized for his persistence to
create and nurture a greater
consciousness and appreciation of
Kalinga culture among the Kalinga
themselves and beyond
their borders. It was through observation, time,
and experience — rather than education or
training or any kind — that Alonzo Saclag of
Lubuagan, Kalinga mastered local musical
instruments, along with dance patterns
associated with rituals. Some of these are rarely
performed, but done so with special purposes,
whether it’s preparing for retaliation, a victorious
vindication for the community, or forging
successful peace
pacts. Saclag understands the importance of his practice and is a
strong advocate of passing on his knowledge and continuing the
use of traditional dress and adornments. His efforts have included
formal education, reaching radio stations, and the formation of the
Kalinga Budong Dance Troupe. He was awarded in 2000.

Masino Intaray, chanter and musician

A Pala'wan of Brookes Point, Palawan. He was

awarded for his exemplary skills in basal or gong music
ensemble. He was also recognized for his versatility as
musician, poet, epic chanter, and storyteller of the Kulilal and
Bagit traditions of the Pala'wan. A member of the Pala’wan
tribe, musician and
epic chanter Masino Intaray was a master of the basal, a gong
music ensemble played during rice cooking (tambilaw) and sharing
(tinapay) rituals, which gather the community as they serve
offerings to Pala’wan rice god Ampo’t Paray. Intaray also
performed the Kulilal, a lyrical poem expressing love, accompanied
by two- stringed lute and bamboo zither, and the bagit, an
instrumental piece about nature. His memory and determination
guided him in chanting through many successive nights, reciting
41
epics, stories, myths of origin, and the teachings of ancestors.
Intaray, who was awarded in 1993, died in 2013.

42
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 5
Name: Date:
Parents Signature: Score:
You have already discovered the famous GAMABA awardees and their
works and expertise. This time let us try how far your learning is. What
you are going to do is to fill in the table with the important information
of all GAMABA awardees. The first one is done for you.

Gamaba Awardees Form Ethnicity Expertise Year of

Confirmation
Lang Dulay Weaving T’boli Tinalak 1998
weaving

43
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 6 - Factors Affecting the Traditional Artist’s Production
Process

Factors Affecting the Traditional Artist’s Production Process

1. Christianization. The impact of Christianity and the

discussion of the locals to a remote religion have made
individuals from the network reject their indigenous
ceremonies and customs. At more regrettable, individuals
are persuaded that the last are crude and thusly their
training has no spot in contemporary culture. Now and
again
2. notwithstanding, the network figures out how to syncretize
their indigenous ways with customs of Christianity.
3. Mining and framework venture – mining and system
adventures expel individuals from their homes and seriously
harm the earth. Denied the abundance of the land,
indigenous gatherings are provoked to look for short – term
work from these businesses to get by in a cash economy.
4. Tourism – plays a big role in one's nation. This is to
promote the culture, environment, and the life of a nation
to others. Along these lines, land regions are changed over
into locales for traveler utilization. Environmental spaces
become increasingly vulnerable to harm with the
consolidated powers of catastrophic events and visitor
convenience.
Works of art local to the network will in general reduce in
quality. Expelled from their unique setting, the works are
changed into mass delivered ornaments so as to satisfy the
needs of the traveler exchange. Neon hues and structures
woven from engineered strands have been made
accessible as of late to make projects of levelheaded
material plans for business purposes.

5. Militarization. The weakness and pressures realized by

hostile areas capture the individuals' capacity to make
workmanship. It keeps individuals from having public social
44
events, were trades and passing information can happen.

45
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 6
Name: Date:
Parents Signature: Score:

Create a comic strip or a story book. Choose from the

above factors that affects the traditional artist’s production process
as your theme or topic. You can draw and color by hand on a
bond paper or any similar material. (The teacher will prepare
rubrics as a tool for scoring)

CPAA ASSIGMENT 6
Name one traditional art form in your community. Create a poster to
promote it. It can be on long bond paper or you can digitally make the
poster with computer. Explain your concept and share to your friends or
family.

46
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 7- National Artists of the Philippines and their Contribution
What is the National Artists Award? Among the different honors and
acknowledgment instruments, the National Artists Award (NAA) presents the most
elevated type of acknowledgment to Filipino craftsmen for their noteworthy
commitments in expressions of the human experience and letters.

It is the highest national acknowledgment given to Filipino people who have made
noteworthy commitments to the improvement of Philippine expressions; in particular,
Music, Dance, Theater, Visual Arts, Literature, Film, Broadcast Arts, and Architecture
and Allied Arts. The request is mutually directed by the National Commission for
Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) and
gave by the President of the Philippines upon suggestion by the two organizations.

It has a similar glory as the GAMABA and the National Scientist Award. The honor is
presented at regular intervals through a thorough consultation and determination
process mutually encouraged by two significant social workplaces, the National
Commission on
Culture and expressions of the human experience and the social focal point of the
Philippines.

NAA was built up in 1972 under Presidential Decree No. 1001 gave by then President
Ferdinand Marcos. The first was Fernando Amorsolo, who was presented the honor
after death. Much has changed since the organization of the honor. As of this
composition, the list has included 66 awardees from seven disciplinal zones, to be
specific: engineering, structure and associated expressions, film and communicate
expressions, visual expressions, writing, move, music, and theater.

Who are the awardees? How it was paved its way? Who are the
National Artists in music, dance, theater, architecture, and visual arts?

47
What are

48
their most important contributions in the country? Are their criteria set
as basis in choosing them? These questions are some of the few
questions that comes into mind when we talk about awardees.

The National Artist of the Philippines are based on a broad

criteria, as set forth by the Cultural Center of the Philippines and
the National Commission on Culture and the Arts:
(https://en.wikipedia.org/wiki/National_Artist_of_the_Philippines)

1. Living artists who have been Filipino citizens for the last ten
years prior to nomination as well as those who have died
after the establishment of the award in 1972 but were
Filipino citizens at the time of their death.
2. Artists who have helped build a Filipino sense of nationhood
through the content and form of their works.
3. Artists who have distinguished themselves by pioneering in
a mode of creative expression or style, making an impact
on succeeding generations of artists.
4. Artists who have created a significant body of works and/or
have consistently displayed excellence in the practice of
their art form, enriching artistic expression or style; and
5. Artists who enjoy broad acceptance through prestigious
national and/or international recognition, awards in
prestigious national and/or international events, critical
acclaim and/or reviews of their works, and/or respect, and
esteem from peers within an artistic discipline.
Since the criteria are presented above, let us get ready! We
will sail to meet and greet the famous National Artist of the
Philippines. Now let us begin!

National Artists of the Philippines

(Note: All the information of the awardees are crafted from the
National Commission for Culture and the Arts)

49
 PABLO S.
ANTONIO
National Artist
for Architecture

(1976)
(January 25, 1902 – June 14, 1975)

His basic design is grounded on simplicity, no clutter. The

lines are clean and smooth, and where there are curves, these
are made integral to the structure. Antonio’s major works
include the following: Far Eastern University Administration and
Science buildings; Manila Polo Club; Ideal Theater; Lyric
Theater; Galaxy Theater; Capitan Luis Gonzaga Building;
Boulevard-Alhambra (now Bel-Air) apartments; Ramon Roces
Publications Building (now Guzman Institute of

Electronics)(https://ncca.gov.ph/about-culture-and-
arts/culture-profile/national-artists-of-thephilippines/)

LEANDRO V. LOCSIN
National Artist for Architecture, 1990
(August 15, 1928 – November 15, 1994)

He reshaped the urban landscape with a distinctive

architecture reflective of Philippine Art and Culture. He believes
that the true Philippine Architecture is “the product of two great
streams of culture, the oriental and the occidental… to produce a
new object of profound harmony.” It is this synthesis that
underlies all his works, with his achievements in concrete
reflecting his mastery of space and scale.

Locsin’s largest single work is the Istana Nurul Iman, the

palace of the Sultan of Brunei, which has a floor area of 2.2 million
square feet. The CCP Complex itself is a virtual Locsin Complex
with all five buildings designed by him — the Cultural Center of
the Philippines, Folk Arts Theater, Philippine International
Convention Center, Philcite and The Westin Hotel (now
Sofitel Philippine Plaza).
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-
artists-of-the-philippines/)

50
 JUAN F. NAKPIL
National Artist for Architecture, 1973
(May 26, 1899 – May 7, 1986)

An architect, teacher, and civic leader is a pioneer and

innovator in Philippine architecture. Nakpil’s greatest contribution
is his belief that there is such a thing as Philippine Architecture,
espousing architecture reflective of Philippine traditions and
culture.

Among others, Nakpil’s major works are the Geronimo de los Reyes
Building,Magsaysay Building, Rizal Theater, Capitol Theater,
Captain Pepe Building, Manila Jockey Club, Rufino Building,
Philippine Village Hotel, University of the Philippines
Administration and University Library, and the reconstructed Rizal
house in Calamba,
Laguna. https://ncca.gov.ph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/)

ILDEFONSO P. SANTOS, JR.

National Artist for Architecture, 2006
(September 5, 1929 – January 29, 2014)

Ildefonso Paez Santos, Jr., distinguished himself by

pioneering the practice of landscape architecture–an allied field of
architecture–in the Philippines and then producing four decades of
exemplary and engaging work that has included hundreds of
parks, plazas, gardens, and a wide range of outdoor settings that
have enhanced contemporary Filipino life.

Santos, Jr., who grew up in Malabon, made his first mark

with the Makati Commercial Center where he introduced a new
concept of outdoor shopping with landscaped walks, fountains and
sculptures as accents. Santos, Jr.’s contribution to modern Filipino
landscape architecture was the seminal public landscape in Paco
Park. Santos, Jr.’s most recent projects were the Tagaytay
Highland Resort, the Mt. Malarayat Golf and Country Club
in Lipa, Batangas, and the Orchard Golf and Country Club in
Imus, Cavite. https://ncca.gov.ph/aboutculture-and-arts/culture-
profile/national-artists-of-the-philippines/)

51
 FRANCISCO T. MANOSA
National Artist for Architecture and Allied Arts (2018)
Birthday: 12 February 1931

For all his more than 60 years of architecture life, Arc.

Bobby Mañosa designed Filipino. From the 1960s in his landmark
design of the Sulo Hotel until his retirement about 2015, he
courageously and passionately created original Filipino forms,
spaces with intricate and refined details. But what is most valuable
is that Mañosa was in the heart and soul of a Philippine
architectural movement. He has developed a legacy of Philippine
architecture, which is essential to our Filipino identity and at the
same time, deeply appreciated and shared in our world today.

Major Works:

• San Miguel Building, Ortigas Center, Pasig City (designed

with the Mañosa Brothers)
• Chapel of the Risen Lord, Las Piñas City
• Our Lady of Peace Shrine, EDSA, Quezon City
• World Youth Day Papal Altar, Quirino Grandstand, Manila,
1995
• Metrorail Transit System Stations for LRT 1, circa 1980s
• Quezon Memorial Circle Development Plan
• Lanao del Norte Provincial Capitol, Tubod, Lanao del Norte
• Tahanang Pilipino (Coconut Palace), CCP Complex, Manila
• Amanpulo Resort, Palawan
• Pearl Farm Resort, Samal Island, Davao, completed 1994
• La Mesa Watershed Resort and Ecological Park, La Mesa
Dam, Quezon City
( Source:https://ncca.gov.ph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/)

52
 LAMBERTO V.
AVELLANA
National Artist for
Theater and
Film (1976)
(February 12, 1915 –
April 25,
1991)

Lamberto V. Avellana, director for theater and film, has

the distinction of being called “The Boy Wonder of Philippine
Movies” as early as 1939. He was the first to use the motion
picture camera to establish a point-of-view, a move that
revolutionized the techniques of film narration.
Sakay was declared the best picture of 1939 by critics and
journalists alike and set the tone for Avellana’s career in film that
would be capped by such distinctive achievements as the Grand
Prix at the Asian Film Festival in Hong Kong for Anak Dalita
(1956); Best Director of Asia award in Tokyo for Badjao, among
others. Avellana was also the first filmmaker to have his film
Kandelerong Pilak shown at the Cannes International Film
Festival. Among the films he directed for worldwide release were
Sergeant Hasan (1967), Destination Vietnam (1969), and
The Evil Within (1970).

LINO BROCKA
National Artist for Film and Broadcast Arts (1997)
(April 3, 1939 – May 22, 1991)
Catalino “Lino” Ortiz Brocka, director for film and
broadcast arts, espoused the term “freedom of expression” in the
Philippine Constitution. Brocka took his social activist spirit to the
screen leaving behind 66 films which breathed life and hope for
the marginalized sectors of society — slum-dwellers, prostitutes,
construction workers, etc. He also directed for theater with equal
zeal and served in organizations that offer alternative visions, like
the Philippine Educational Theater Association (PETA) and the
Concerned Artists of the Philippines (CAP). At the same time, he
garnered awards and recognition from institutions like the CCP,
FAMAS, TOYM, and Cannes Film Festival. To name a few,
Brocka’s films include the following: “Santiago” (1970),
“Wanted: Perfect Mother” (1970), “Tubog sa Ginto” (1971),
“Stardoom” (1971), “Tinimbang Ka Ngunit Kulang” (1974),

53
“Maynila: Sa Kuko ng

54
 Liwanag” (1975), “Insiang” (1976), “Jaguar” (1979), “Bona”
(1980), “Macho Dancer” (1989), “Orapronobis” (1989),
“Makiusap Ka sa Diyos” (1991).

ISHMAEL BERNAL
National Artist for Cinema (2001)
(September 30, 1938 – June 2, 1996)

Ishmael Bernal was a filmmaker of the first order and

one of the very few who can be truly called a maestro. Critics have
hailed him as “the genius of Philippine cinema.”

Among his notable films are “Pahiram ng Isang Umaga”

(1989), “Broken Marriage” (1983), “Himala” (1982), “City
After Dark” (1980), and “Nunal sa Tubig” (1976). He was
recognized as the Director of the Decade of the 1970s by the
Catholic Mass Media Awards; four-time Best Director by the
Urian Awards (1989, 1985, 1983, and 1977); and given the
ASEAN Cultural Award in Communication Arts in 1993.

FERNANDO POE, JR.

National Artist for Cinema (2006)
(August 20, 1939 – December 14, 2004)

Ronald Allan K. Poe, popularly known as Fernando Poe,

Jr., was a cultural icon of tremendous audience impact and
cinema artist and craftsman–as actor, director, writer and
producer. *

The image of the underdog was projected in his films such

as Apollo Robles(1961), Batang Maynila (1962), Mga Alabok
sa Lupa (1967), Batang Matador and Batang Estibador
(1969), Ako ang Katarungan (1974), Tatak ng Alipin(1975),
Totoy Bato (1977), Asedillo (1981), Partida (1985), and Ang
Probisyano (1996), among many others. The mythical hero, on
the other hand, was highlighted in Ang Alamat (1972), Ang
Pagbabalik ng Lawin (1975) including his Panday series (1980,
1981, 1982, 1984) and the action adventure films adapted from
komiks materials such as Ang Kampana sa Santa
Quiteria(1971), Santo Domingo (1972), and Alupihang Dagat
(1975), among others. Poe was born in Manila on August 20,
1939. After the death of his father, he dropped out of the
University of the East in his sophomore year to support his
55
family. He was the

56
 second of six siblings. He married actress Susan Roces in a civil
ceremony in December 1968. He died on December 14, 2004.

KIDLAT TAHIMIK
National Artist for Film (2018)
Birthday: 3 October 1942

Kidlat Tahimik has continually invented himself through his cinema, and
so his cinema is as singular as the man. His debut film, Mababangong
Bangungot (1977), was praised by critics and filmmakers from Europe,
North America, Asia, and Africa and is still considered by many as a
pioneering postcolonial essay film. Tahimik’s intense independence as
an artist and, at the same time, the film itself called for Filipinos to
actively live out their independence and not allow their culture to be
imperialized by the west. Kidlat’s “imperfect” film is an exemplar of what
is worldwide known as “Third Cinema,” a cinema that is critical of
neocolonial exploitation and state oppression.
Notable Works:
• Balikbayan #1: Memories of Overdevelopment Redux (2015)
• Japanese Summers of a Filipino Fundoshi (1996)
• Why Is Yellow the Middle of the Rainbow? (1983-1994)
• Orbit 50: Letters to My 3 Sons (1990-1992)
• Turumba (1983)
• Who Invented the Yoyo? Who Invented the Moon Buggy?
(1979)
• Mababangong Bangungot/Perfumed Nightmare (1977)
•
FERNANDO AMORSOLO

National Artist for Visual Arts

(May 30, 1892 – April 24, 1972)

Fernando C. Amorsolo the first National Artist awardee. He was titled

“Grand Old Man of Philippine Art” was bestowed on Amorsolo when the
Manila Hilton inaugurated its art center on January 23, 1969, with an
exhibit of a selection of his works.

57
Among others, his major works include the following: Maiden in a
Stream(1921)-GSIS collection; El Ciego (1928)-Central Bank of the
Philippines collection; Dalagang Bukid (1936) – Club Filipino
collection; The Mestiza (1943) – National Museum of the Philippines
collection; Planting Rice (1946)-UCPB collection; Sunday Morning
Going to Town (1958)-Ayala Museum Collection.
HERNANDO R. OCAMPO
National Artist for Visual Arts (1991)
(April 28, 1911 – December 28, 1978)
He is a self-taught painter and was a leading member of
the pre-war Thirteen Moderns, the group that charted the course
of modern art in the Philippines. His works provided an
understanding and awareness of the harsh social realities in the
country immediately after the Second World War and contributed
significantly to the rise of the nationalist spirit in the postwar era.
Ocampo’s acknowledged masterpiece Genesis served as
the basis of the curtain design of the Cultural Center of the
Philippines Main Theater. His other major works include Ina ng
Balon, Calvary, Slum Dwellers, Nude with Candle and
Flower, Man and Carabao, Angel’s Kiss, Palayok at Kalan,
Ancestors,Isda at Mangga, The Resurrection, Fifty-three
“Q”, Backdrop, Fiesta.

ABDULMARI ASIA IMAO

National Artist for Visual Arts (2006)
(January 14, 1936 – December 16, 2014)
A native of Sulu, Abdulmari Asia Imao is a sculptor,
painter, photographer, ceramist, documentary filmmaker, cultural
researcher, writer, and articulator of Philippine Muslim art and
culture. Through his works, the indigenous ukkil, sarimanok and
naga motifs have been popularized and instilled in the
consciousness of the Filipino nation and other peoples as original
Filipino creations.
Industry Brass Mural, Philippine National Bank, San
Fernando, LaMural Relief on Filmmaking, Manila City
Hall
Industrial Mural, Central Bank of the Philippines, San
Fernando, La Union Sulu Warriors (statues of Panglima Unaid
and Captain Abdurahim Imao), 6 ft., Sulu Provincial Capitol.

58
 GUILLERMO TOLENTINO National Artist for Sculpture
(1973)
(July 24, 1890 – July 12, 1976)
Guillermo Estrella Tolentino is a product of the Revival
period in Philippine art. The result was the UP Oblation that
became the symbol of freedom at the campus. Acknowledged as
his masterpiece and completed in 1933, The Bonifacio
Monument in Caloocan stands as an enduring symbol of the
Filipinos’ cry for freedom Other works include the bronze figures of
President Quezon at Quezon Memorial, life-size busts of Jose
Rizal at UP and UE, marble statue of Ramon Magsaysay in
GSIS Building; granolithics of heroic statues representing
education, medicine, forestry, veterinary science, fine arts and
music at UP. He also designed the gold and bronze medals for the
Ramon Magsaysay Award and did the seal of the Republic of
the Philippines.
Portrait, Night Glows,Grand Finale, Cities of the
Past, Imaginary Landscapes. His mural painting Black and
White is displayed in the lobby of the CCP’s Bulwagang Carlos V.
Francisco (Little Theater). His sculpture of a stainless steel cube is
located in front of the Benguet Mining Corporation Building in
Pasig.

LAURO “Larry” ALCALA

National Artist for Visual Arts (2018)
(18 August 1926-24 June 2002)

His comic strips spiced up the slices of Filipino lives with

witty illustrations executed throughout his 56 years of cartooning.
He created over 500 characters and 20 comic strips in widely
circulated publications. Alcala’s most iconic work, Slice of Life, not
only made for decades long of widely circulated images of Filipino
everyday life, it also symbolically became an experiential way for
his followers to find a sense of self in the midst of an often
cacophonic, raucous and at odds environment that Filipinos found
themselves amidst.

Notable Works:
Slice of Life Weekend 1980-1986
Asiong Aksaya, Daily Express, Tagalog Klasiks, 1976-1984
Smolbatteribols, Darna Komiks 1972-1984
Siopawman, Daily Express, 1972-1983, 2002
Kalabogesyons, Pilipino Komiks, 1966-1972
Congressman Kalog, Aliwan Komiks, 1966-1972
59
Baryo Pogspak, Holiday Komiks, 1966-1972
Loverboy, Redondo Komiks, 1964-1969
Mang Ambo, Weekly Graphic, 1963-1965

60
Kalabog en Bosyo, Pilipino Komiks, 1949-1983
Islaw Palitaw, 1946-1948

FRANCISCO
ARCELLANA
National Artist
for Literature
(1990)
(September 6, 1916
– August 1, 2002)

Francisco Arcellana, writer, poet, essayist, critic,

journalist, and teacher is one of the most important progenitors of
the modern Filipino short story in English. He pioneered the
development of the short story as a lyrical prose-poetic formA
brilliant craftsman, his works are now an indispensable part of a
tertiary-level-syllabi all over the country. Arcellana’s published
books are Selected Stories (1962), Poetry and Politics: The
State of Original Writing in English in the Philippines
Today (1977), The Francisco Arcellana Sampler (1990).

EDITH L. TIEMPO
National Artist for Literature
(1999)
(April 22, 1919 – August 21, 2011)

A poet, fictionist, teacher and literary critic, Edith L. Tiempo

is one of the finest Filipino writers in English. Her works are
characterized by a remarkable fusion of style and substance, of
craftsmanship and insight. Born on April 22, 1919 in Bayombong,
Nueva Vizcaya, her poems are intricate verbal transfigurations of
significant experiences as revealed, in two of her much-
anthologized pieces, “The Little Marmoset” and “Bonsai”. As
fictionist, Tiempo is as morally profound. Her language has been
marked as “descriptive but unburdened by scrupulous detailing.”
She is an influential tradition in Philippine literature in English.
Together with her late husband, Edilberto K. Tiempo, she founded
and directed the Silliman National Writers Workshop in Dumaguete
City, which has produced some of the country’s best writers.

61
 BIENVENIDO
LUMBERA National
Artist for Literature
(2006)

Bienvenido Lumbera, is a poet, librettist, and scholar. As a poet, he

introduced to Tagalog literature what is now known as Bagay poetry, a
landmark aesthetic tendency that has helped to change the vernacular
poetic tradition. He is the author of the following works: Likhang Dila,
Likhang Diwa (poems in Filipino and English), 1993; Balaybay, Mga
Tulang Lunot at Manibalang, 2002; Sa Sariling Bayan, Apat na
Dulang May Musika, 2004; “Agunyas sa Hacienda Luisita,”
Pakikiramay, 2004.

As a librettist for the Tales of the Manuvu and Rama Hari, he

pioneered the creative fusion of fine arts and popular imagination. As a
scholar his major books include the following: Tagalog Poetry, 1570-
1898: Tradition and Influences in its Development; Philippine
Literature: A History and Anthology, Revaluation: Essays on
Philippine Literature, Writing the Nation/Pag-akda ng Bansa.

VIRGILIO S. ALMARIO
National Artist for 2003

He is also known as Rio Alma, is a poet, literary historian,

and critic, who has revived and reinvented traditional Filipino
poetic forms, even as he championed modernist poetics. In
34 years, he has published 12 books of poetry, which include the
seminal Makinasyon and Peregrinasyon, and the landmark trilogy
Doktrinang Anakpawis, Mga Retrato at Rekwerdo and Muli, Sa
Kandungan ng Lupa. In these works, his poetic voice soared from the
lyrical to the satirical to the epic, from the dramatic to the incantatory,
in his often severe examination of the self, and the society.

RAMON L. MUZONES
National Artist for Literature (2018)
(20 March 1913-17 August 1992)

62
 Ramon Muzones was a Hiligaynon poet, essayist, short
story writer, critic, grammarian, editor, lexicographer, and novelist
who authored an unprecedented 61 completed novels. A number
of these represent groundbreaking “firsts’ in Hiligaynon literature
such as the feminist Ang Bag-ong Maria Clara, the roman a clef
Maambong Nga Sapat (Magnificent Brute,1940), the comic Si
Tamblot (1946), the politically satirical Si Tamblot Kandidato Man
(Tamblot is Also a Candidate, 1949), the 125- installment longest
serialized novel Dama de Noche (1982-84), etc. Hailed by his
peers as the longest reigning (1938-1972) among “the three kings
of the Hiligaynon novel,” Muzones brought about its most radical
changes while ushering in modernism. With a literary career that
spanned fifty-three years (1938-1990), his evolution covers the
whole history of the Hiligaynon novel from its rise in the 1940s to
its decline in the 1970s. Muzones tried his hand at a variety of
types and proved adept in all as literary fashions. In the process,
he not only extended with remarkable versatility and inventiveness
the scope and style of the Hiligaynon novel, but he also enriched
Hiligaynon literature’s dramatis personae.

Notable Works:

Shri-Bishaya (1969)

Malala nga Gutom (Malignant Hunger,1965)

Babae Batuk sa Kalibutan (Woman Against the World,1959)

Ang Gugma sang Gugma Bayaran (Love with Love Be Paid, 1955)

Si Tamblot (1948)

Margosatubig (1946)

63
 RAMON VALERA
National Artist for Fashion Design
(2006)
(August 31, 1912 – May 25, 1972)

The contribution of Ramon

Valera, whose family hails from Abra,
lies in the tradition of excellence of his
works, and his commitment to his
profession, performing his magical
seminal innovations on the Philippine terno. Valera is said to have given
the country its visual icon to the world via the terno. In the early 40s,
Valera produced a single piece of clothing from a four-piece ensemble
consisting of a blouse, skirt, overskirt, and long scarf. He unified the
components of the baro’t saya into a single dress with exaggerated bell
sleeves, cinched at the waist, grazing the ankle, and zipped up at the
back.

Using zipper in place of hooks was already a radical change

for the country’s elite then. Dropping the panuelo–the long-folded
scarf hanging down the chest, thus serving as the Filipina’s
gesture of modesty–from the entire ensemble became a bigger
shock for the women then. Valera constructed the terno’s butterfly
sleeves, giving them a solid, built-in but hidden support. To the
world, the butterfly sleeves became the terno’s defining feature.

SALVADOR F. BERNAL
National Artist for Theater Design
(2003)
(January 7, 1945 – October 26,
2011)

Salvador F. Bernal designed more than

300 productions distinguished for their
originality.
Sensitive to the budget limitations of local productions, he
harnessed the design potential of inexpensive local materials,
pioneering or maximizing the use of bamboo, raw abaca, and
abaca fiber, hemp twine, rattan chain links and gauze cacha.As the
acknowledged guru of contemporary Filipino theater design, Bernal
shared his skills with younger designers through his classes at the
University of the Philippines and the Ateneo de Manila University,
64
 and through the programs he created for the CCP Production
Design Center which he himself conceptualized and organized.

CARLOS
QUIRINO
National Artist for
Historical
Literature
(1997)
(January 14, 1910 –
May 20, 1999)

Carlos Quirino, a biographer, has the distinction of having

written one of the earliest biographies of Jose Rizal titled The
Great Malayan. Quirino’s books and articles span the
whole gamut of Philippine history and culture–from Bonifacio’s trial to
Aguinaldo’s biography, from Philippine cartography to culinary arts, from
cash crops to tycoons and president’s lives, among so many subjects. In
1997, Pres. Fidel Ramos created historical literature as a new category
in the National Artist Awards and Quirino was its first recipient. He made
a record earlier on when he became the very first Filipino correspondent
for the United Press Institute.His book Maps and Views of Old
Manila is considered as the best book on the subject. His other books
include Quezon, Man of Destiny, Magsaysay of the Philippines,
Lives of the Philippine Presidents, Philippine Cartography, The
History of Philippine Sugar Industry, Filipino Heritage: The
Making of a Nation, Filipinos at War: The Fight for Freedom
from Mactan to EDSA.

FRANCISCA REYES AQUINO

National Artist for Dance (1973)
(March 9, 1899 – November 21, 1983)

Francisca Reyes Aquino is

acknowledged as the Folk-Dance Pioneer.
This Bulakeña began her research on folk
dances in the 1920s making trips to remote
barrios in Central and Northern
Luzon. Her research on the unrecorded forms of local celebration, ritual,
and sport resulted into a 1926 thesis titled “Philippine Folk Dances

65
and Games,” and arranged specifically for use by teachers and
playground instructors in public and private schools.

Her books include the following: Philippine National Dances (1946);

Gymnastics for Girls (1947); Fundamental Dance Steps and
Music (1948); Foreign Folk Dances (1949); Dances for all
Occasion (1950); Playground Demonstration (1951); and
Philippine Folk Dances, Volumes I to VI.

RAMON OBUSAN
National Artist for Dance (2006)
(June 16, 1938 – December 21, 2006)

Ramon Obusan was a dancer, choreographer, stage

designer, and artistic director. He achieved phenomenal success in
Philippine dance and cultural work. He was also acknowledged as
a researcher, archivist and documentary filmmaker who
broadened and deepened the Filipino understanding of his own
cultural life and expressions. Through the Ramon Obusan Folkloric
Grop (ROFG), he had affected cultural and diplomatic exchanges
using the multifarious aspects and dimensions of the art of dance.
mong the full-length productions he choreographed are the
following: “Vamos a Belen! Series” (1998-2004)
Philippine Dances Tradition“Noon Po sa Amin,” tableaux of Philippine
History in song, drama and dance“Obra Maestra,” a collection of
Ramon Obusan’s dance masterpieces“Unpublished Dances of the
Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration
of Life. Saludo sa Sentenyal”“Glimpses of ASEAN, Dances and Music
of the ASEAN-Member Countries”“Saplot (Ramon Obusan Folkloric
Group): Philippines Costumes in Dance”

ALICE REYES NATIONAL ARTIST FOR DANCE (2014)

She is a dancer, choreographer, teacher, and director, she has
made a lasting impact on the development and promotion of
contemporary dance in the Philippines. Her dance legacy is evident
in the dance companies, teachers, choreographers, and the
exciting Filipino modern dance repertoire of our country today. Her
biggest contribution to Philippine dance is the development of a
distinctly Filipino modern dance idiom. Utilizing inherently Filipino
materials and subject matters expressed through a combination of
movements and styles from Philippine indigenous dance, modern

66
 dance, and classical ballet she has successfully created a
contemporary dance language that is uniquely Filipino.

Her masterpiece Amada to the modern dance classic Itim-

Asu, to her last major work Bayanihan Remembered which she
staged for Ballet Philippines Among her major works: Amada
(1969), At a Maranaw Gathering (1970) Itim-Asu (1971),
Tales of the Manuvu (1977), Rama Hari (1980), Bayanihan
Remembered (1987).

LEONOR OROSA GOQUINGCO

National Artist for Dance
(July 24, 1917 – July 15, 2005)

Dubbed the “Trailblazer”, “Mother of Philippine Theater

Dance” and “Dean of Filipino Performing Arts Critics”, Leonor
Orosa Goquingco, pioneer Filipino choreographer in balletic
folkloric and Asian styles, produced for over 50 years highly
original, first-of-a-kind choreographies, mostly to her own
storylines.

These include “TREND: Return to Native,” “In a

Javanese Garden,” “Sports,” “VINTA!,” “In a Concentration
Camp,” “The Magic Garden,” “The Clowns,” “Firebird,” “Noli
Dance Suite,” “The Flagellant,” “The Creation…” Seen as her
most ambitious work is the dance epic “Filipinescas: Philippine
Life, Legend and Lore.” With it, Orosa brought native folk
dance, mirroring Philippine culture from pagan to modern times, to
its highest stage of development

LUCRECIA REYES-URTULA
National Artist for Dance (1988)
(June 29, 1929 – August 4, 1999)

A choreographer, dance educator and researcher, spent

almost four decades in the discovery and study of Philippine folk
and ethnic dances. She applied her findings to project a new
example of an ethnic dance culture that goes beyond simple
preservation and into creative growth. Over a period of thirty
years, she had choreographed suites of mountain dances,
Spanish- influenced dances, Muslim pageants and festivals,
regional variations and dances of the countryside for the
67
Bayanihan Philippine Dance Company of which she was the
dance director.

68
 These dances have all earned critical acclaim and rave reviews
from audiences in their world tours in Americas, Europe, Asia,
Australia and Africa. Among the widely acclaimed dances she had
staged were the following: Singkil, a Bayanihan signature number
based on a Maranao epic poem; Vinta, a dance honoring Filipino
sailing prowess; Tagabili, a tale of tribal conflict; Pagdiwata, a
four-day harvest festival condensed into a six-minute breath-
taking spectacle; Salidsid, a mountain wedding dance ; Idaw,
Banga and Aires de Verbena.

ANTONINO BUENAVENTURA
National Artist for Music
(1988)
(May 4, 1904 – January 25,
1996)

In 1935, Buenaventura joined Francisca Reyes-Aquino to conduct

research on folksongs and dances that led to its popularization.
Buenaventura composed songs, compositions, for solo instruments as
well as
symphonic and orchestral works based on the folksongs of various
Philippine ethnic groups. He was also a conductor and restored the
Philippine Army Band to its former prestige as one of the finest military
bands in the world making it “the only band that can sound like a
symphony orchestra”. This once sickly boy who played the clarinet
proficiently has written several marches such as the “Triumphal
March,” “Echoes of the Past,” “History Fantasy,” Second
Symphony in E- flat, “Echoes from the Philippines,” “Ode to
Freedom.” His orchestral music compositions include Concert Overture,
Prelude and Fugue in G Minor, Philippines Triumphant, Mindanao
Sketches, Symphony in C Major, among others.
69
 JOSE MACEDA
National Artist for Music (1997)
(January 31, 1917 – May 5, 2004)

Jose Maceda, composer, musicologist, teacher and

performer, explored the musicality of the Filipino deeply. Maceda
embarked on a life-long dedication to the understanding and
popularization of Filipino traditional music. He wrote papers that
enlightened scholars, both Filipino and foreign, about the nature of
Philippine traditional and ethnic music. Maceda’s experimentation
also freed Filipino musical expression from a strictly Eurocentric
mold.Usually performed as a communal ritual, his compositions
like Ugmaugma(1963), Pagsamba (1968), and Udlot-udlot
(1975), are monuments to his unflagging commitment to
Philippine music. Other major works include Agungan, Kubing,
Pagsamba, Ugnayan, Ading, Aroding, Siasid, Suling-suling.

LUCRECIA R. KASILAG
National Artist for Music
August 31, 1918 – August, 2008

An educator, composer, performing artist, administrator,

and cultural entrepreneur of national and international caliber, had
involved herself wholly in sharpening the Filipino audience’s
appreciation of music.

She dared to incorporate indigenous Filipino instruments in

orchestral productions, such as the prize-winning “Toccata for
Percussions and Winds, Divertissement and Concertante,”
and the scores of the Filiasiana, Misang Pilipino, and De
Profundis. “Tita
King”, as she was fondly called, worked closely as music director with
colleagues Lucresia Reyes-Urtula, Isabel Santos, Jose Lardizabal and Dr.
Leticia P. de Guzman and made Bayanihan Philippine Dance Company
one of the premier artistic and cultural groups in the country. Her
orchestral music includes Love Songs, Legend of the Sarimanok,
Ang Pamana, Philippine Scenes, Her Son, Jose, Sisa and chamber
music like Awit ng mga Awit Psalms, Fantaisie on a 4-Note
Theme, and East Meets Jazz Ethnika.

70
 ERNANI J. CUENCO
National Artist for Music (1999)
(May 10, 1936 – June 11, 1988)

Ernani J. Cuenco is a seasoned musician born on May 10, 1936

in Malolos, Bulacan. A composer, film scorer, musical director, and music
teacher, he wrote an outstanding and memorable body of work that
resonates with the Filipino sense of musicality and which embody an
ingenious voice that raises the aesthetic dimensions of contemporary
Filipino music. Cuenco played with the Filipino Youth Symphony
Orchestra and the Manila Symphony Orchestra from 1960 to 1968, and
the Manila Chamber Soloists from 1966 to 1970. He completed a music
degree in piano and cello from the University of Santo Tomas where he
also taught for decades until his death in 1988. His songs and ballads
include “Nahan, Kahit na Magtiis,” and “Diligin Mo ng Hamog ang
Uhaw na Lupa,” “Pilipinas,” “Inang Bayan,” “Isang Dalangin,”
“Kalesa,” “Bato sa Buhangin” and “Gaano Kita Kamahal.” The
latter song shows how Cuenco has enriched the Filipino love ballad by
adding the elements of kundiman to it.

RYAN CAYABYAB
National Artist for Music (2018)
Birthday: 4 May 1954

Mr. C is the most accomplished composer, arranger, and musical

director in the Philippine music industry since this bloomed beginning
1970s. His learned, skillful, and versatile musical style spans a wide
range of genres: from conservatory or art compositions such as concert
religious music, symphonic work, art song, opera, and concerto to
mainstream popular idioms in the music industry and in live
contemporary multimedia shows (musical theater, dance, and film).

Notable Works:

• Rama-Hari (Two-act musical ballet, 1980)

• Katy! The Musical (Two-act musical, 1988)
• Smokey Mountain (Pop CD album, 1990)
• One Christmas (Christmas Album, 1993)
• Noli Me Tangere (Tele-sine musical, 1995)
• Spoliarium (Three-act opera, 2003)
• Ignacio Of Loyola (Film Score, 2016)
• Larawan: The Musical (Full-length musical film, 2017)
• Da Coconut Nut
• Kay Ganda Ng Ating Musika
• Nais Ko
• Paraiso
• Kahit Ika’y Panaginip Lang
• Kailan
• Tuwing Umuulan at Kapiling Ka

71
 DAISY H. AVELLANA
National Artist for Theater
(1999)
(January 26, 1917 – May 12,
2013)

Daisy H. Avellana, is
an actor, director, and writer.
Born in Roxas City, Capiz on
January 26, 1917, she
elevated
legitimate theater and dramatic
arts to a new level of excellence by staging
and performing in breakthrough
productions of classic Filipino and
foreign plays and by encouraging the establishment of
performing groups and the professionalization of Filipino
theater. Together with her husband, National Artist
Lamberto Avellana and other artists, she co-founded the
Barangay Theatre Guild in 1939 which paved the way for
the popularization of theatre and dramatic arts in the
country, utilizing radio and television.

ROLANDO S. TINIO
National Artist for Theater and Literature (1997)
(March 5, 1937 – July 7, 1997)

Rolando S. Tinio, playwright, thespian, poet, teacher, critic,

and translator marked his career with prolific artistic productions.
Tinio’s chief distinction is as a stage director whose original
insights into the scripts he handled brought forth production’s
notable for their visual impact and intellectual cogency.
Subsequently, after staging productions for the Ateneo
Experimental Theater (its organizer and administrator as well), he
took on Teatro Pilipino. It was to Teatro Pilipino which he left a
considerable amount of work reviving traditional Filipino drama by
re-staging old theater forms like the sarsuela and opening a
treasure-house of contemporary Western drama. It was the
excellence and beauty of his practice that claimed for theater a
place among the arts in the Philippines in the 1960s. Aside from
his collections of poetry (Sitsit sa Kuliglig, Dunung – Dunungan,
Kristal na Uniberso, A Trick of Mirrors) among his works were the
following: film scripts for Now and Forever, Gamitin Mo Ako, Bayad
Puri and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana
Maria; the komedya Orosman at Zafira; and Larawan, the musical.

72
 WILFRIDO MA. GUERRERO
National Artist for Theater (1997)
(January 22, 1910 – April 28, 1995)

Wilfrido Ma. Guerrero is a teacher and theater artist

whose 35 years of devoted professorship has produced the most
sterling luminaries in Philippine performing arts today: Behn
Cervantes, Celia Diaz-Laurel, Joy Virata, Joonee Gamboa, etc. In
1947, he was appointed as UP Dramatic Club director and served
for 16 years. As founder and artistic director of the UP Mobile
Theater, he pioneered the concept of theater campus tour and
delivered no less than 2,500 performances in a span of 19
committed years of service. By bringing theatre to the countryside,
Guerrero made it possible for students and audiences, in general,
to experience the basic grammar of staging and acting in familiar
and friendly ways through his plays that humorously reflect the
behavior of the Filipino. His plays include Half an Hour in a
Convent, Wanted: A Chaperon, Forever, Condemned,
Perhaps, In Unity, Deep in My Heart, Three Rats, Our
Strange Ways, The Forsaken House, Frustrations.

HONORATA “ATANG” DELA RAMA

National Artist for Theater and Music (1987)
(January 11, 1902 – July 11, 1991)

Honorata “Atang” Dela Rama was formally honored as

the Queen of Kundiman in
1979, then already 74 years old singing the same song (“Nabasag na
Banga”) that she sang as a 15-year old girl in the sarsuela’s Dalagang
Bukid. Atang became the very first actress in the very first locally
produced Filipino film when she essayed the same role in the Sarsuela’s
film version. As early as age seven, Atang was already being cast in
Spanish zarzuelas such as Mascota, Sueño de un Vals, and Marina.
She counts the role though of an orphan in Pangarap ni Rosa as her
most rewarding and satisfying role that she played with realism, the
stage sparkling with silver coins tossed by a teary-eyed audience. Atang
passionately believes that the Sarsuela and the kundiman expresses
best the Filipino soul, and even performed kundiman and other Filipino
songs for the Aetas or Negritos of Zambales and the Sierra Madre, the
Bagobos of Davao and other Lumad of Mindanao.

73
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA DRILL 7
Name: Date:
Parents Signature: Score:
Multiple Choice. Select the letter of the best answer from
among the given choices.

1. A Tinalak weaver who have produced creations which remain faithful

to the T’boli tradition as manifested in the complexity of her design,
fineness of workmanship and quality of finish.
A. Magdalena Gamayo C. Haja Amina
B. Lang Dulay D. Salinta Monon
2. It is the highest national acknowledgment given to Filipino people
who have made noteworthy commitments to the improvement of
Philippine expressions.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
3. It is an award given to recognize the outstanding work of the artists
in the Philippines to promote a genuine appreciation of traditional
craft and art.
A. GAMABA award C. GAMBANA award
B. National Artists Award D. International Artist Award
4. A director for theater and film, has the distinction of being called “The
Boy Wonder of
Philippine Movies”

A. Lamberto V. Avellana C. Catalino “Lino” Ortiz Brocka

B. José María V. Zaragoza D. Manuel Conde
5. The “Grand Old Man of Philippine Art”

A. Catalino “Lino” Ortiz Brocka C. Cesar Legaspi

B. Fernando C. Amorsolo D. F. Sionil Jose

74
 6. A GAMABA awrdee of Tagabawa Bagobo of Bansalan, who was
awarded for fully demonstrating the creative and expressive aspects of the
Bagobo abaca ikat weaving.
A. Ginaw Bilog C. Salinta Monon D.
Samaon
B. Sulaiman D. Masino Intara
7. She is known as the Queen of Kundiman.
A. Honorata “Atang” Dela Rama C. Andrea Veneracion
B. Daisy H. Avellana, D. Haja Amina Appi

8. Asian president of the United Nations General Assembly who

multifaceted career spanned 50 years of public service as an educator,
soldier, university president, journalist, and diplomat.
A. Amado V. Hernandez C. Carlos P. Romulo
B. Alonzo Saclag D. Fernando Amorsolo
9. A screenwriter, film director and producer, the quintessential Filipino
filmmaker whose life is devoted to the art and commerce of cinema spanning
three generations of filmmakers
A. Eddie Romero C. Ildefonso , P. Santos
B. Darhata Sawabi D. Pablo S. Antonio
10. A GAMABA awardee who popularized the the tabungaw hat.
A. Ginaw Bilog C. Salinta Monon D. Samaon
Sulaiman
B. Teofilo Garcia D. Teofilo Garcia

75
 Green Rose Center for Academe Inc.
Purok Gemelina Estaca Compostela Cebu
Mobile No. 0933-1617936 / Landline No. (032) 425-6216
E-mail add: greenroseacademe_119@yahoo.com, Website: http://grca.school
Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 8- Contemporary Art Forms Based on the Elements and Principles
The elements and concepts of art — including line, form, color, and
texture— are historically the conceptual building blocks of art and design
used by Western artists to convey ideas or emotions in art.
Besides learning how to use paint or carve stone, by applying
concepts such as balance, repetition, harmony, and symmetry, artists often
learn how to work with those elements.
Just as we need to know how to read the words to understand a
novel, so we also have to learn the language of art to understand a
painting or a sculpture.
Art audiences need to grasp the vocabulary of certain elements and
concepts in order to fully appreciate what artists are making. Before the
industrial period (approximately before the mid-19th century) in Europe
and the United States, artists used the elements of art to make their
paintings and sculptures more realistic and express their ideas about their
subjects — usually figures, still life, or landscapes. Generally speaking, they
worked to create compositions which had unity, balance and harmony.
From the 1850s well into the 20th century, modern artists began to use
these artistic elements to create more abstract art. Eventually, many used
elements such as color, line, or shape alone to express feelings, emotions,
or concepts and ideas directly separated from any other subject matter.
(Clyfford Still untitled (1950-C)
At the end of the 20th and beginning of the 21st centuries, art historians
and critics noticed a difference in ways that artists worked and the ideas
that interested them. They began to describe this era as postmodern,
literally “after modern.” Postmodernism has been used to categorize
widely diverse styles and concerns about making art. What unifies
postmodern art, if anything, is a reaction to modernism—at times
destroying or debunking traditionally held rules or canons of modern art;
at other times copying masterworks of the past in new ways.

Generally, meaning in art became more ambiguous and contradictory.

The traditional elements and principles of art, and their use in the art of
the past, often seem beside the point or purposefully set aside in the
76
work of

77
postmodern artists. For much contemporary art or art being made today,
the content or meaning is more important than the materials or forms used
to make it. Until very recently, artists were making art that would engage
viewers visually through subject matter and the composition of elements
and principles. Contemporary artists seem to be more interested in
engaging viewers conceptually through ideas and issues. The elements of
art, while still present at times, are often not adequate to understanding
the meaning of contemporary art.
What is contemporary art? What are the elements and principles of
contemporary art? How do artistic elements and principles contribute to
creating meaning in art? How can comprehension of elements and
concepts enable us today to understand art?
Contemporary art is an art produced by the artist today. It is not
restricted to individual experience, but it is reflective of the world we live
in. The artwork that is created by today’s contemporary artist has a world
view and sensitive to changing times

Contemporary artists frequently go beyond these elements and

values in their work, using new ideas and techniques, in their attempts to
establish meaning in today's world. The elements and concepts for art are
kind of a script. As writers, artists use phrases, pick, organize and combine
lines, forms, colors and textures in several ways to express themselves and
build meaning. Below are the elements and principles used by the
contemporary artists.

Elements and Principles of Contemporary Arts

We live in a community where pictures and objects overflow. From

television to the Internet, from the supermarket to the junkyard, we're
surrounded by cheap, or free, and throwaway words, pictures, and objects.
This is not shocking that today's artists integrate this content into their
artistic expression. In this, the first element and principle of contemporary
arts born…
Appropriation. It is the process of making new content by taking
from another source pre-existing image — books on art history, ads, the
media — and incorporating or combining it with new ones. Appropriation is
a three- dimensional variant of using found objects in painting. To
appropriate is to borrow. A found object is an actual object— often a
manufactured product of a commonplace nature — given a new identity as
an artwork or part of an art piece.
Some common sources of stolen images are artworks from the
distant or recent past, historical records, media (film and television), or

78
popular

79
culture (advertisements or products). The source is sometimes unknown,
but the artist may have personal associations. The source of the
appropriate image or object may be politically charged, symbolic,
ambiguous, or may push the limits of the imagery considered to be
acceptable to art.
Appropriate imagery can be photographically or carefully imitated,
reproduced by mechanical infers such as an overhead projector, joined of
the time re- create an address or repaint it, changing its scale or design to
make unused meaning. Experts can as well compare differing pictures or
objects, layer them with other pictures, break them into parts, or
contextualize them, with recommends to reconsider pictures or objects by a
setting them in a cutting-edge setting.

Appropriation refers to the act of borrowing or reusing existing components

inside a modern work. Postmodern apportionment craftsmen, counting
Barbara Kruger, are sharp to deny the idea of creativity. They accept that
in borrowing existing symbolism or components of symbolism, they are re-
contextualizing or appropriating the first symbolism, permitting the
audience to renegotiate the meaning of the initial in distinctive, more
important, or more current.
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 or her work is
widely considered to be Marcel Duchamp. He devised the concept of the
‘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.

80
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’s could be epitomized by any one technique or practice,
it would be appropriation.
(crafted:http://www.inquiriesjournal.com/articles/1661/appropriation-in-
contemporary-art)

The modern shape of contemporary art – which risen out of Happenings

and Conceptual art ended up a major frame of avantgarde art amid the
late 1960’s and 1970’s – takes as its medium the artist himself: the real
work of art being the artist’s live actions. Presently prevalent with an
expanding number of postmodernist specialists.

Performance art is another element of contemporary art which regularly

increases drama, often acting and development to extremes of expression
and continuity that are not allowed within the theater. It interprets various
human activities such as ordinary activities such as chores, routines, and
rituals, to socially relevant themes such as poverty, commercialism, and
war.

Execution events are hosted in several of the most outstanding exhibitions

of modern
craftsmanship in the world, as well as conventional ones. Words are rarely
noticeable, while
music and commotions of different kinds are regular. A number of the most
outstanding exhibitions of modern craftsmanship in the world, as well as
conventional centers such as the Metropolitan Exhibition Hall of Art, are
being held for performances. Serbian Marina Abramovic (b. 194) is one of
the most popular examples of modern execution craftsmanship.

Although this brand of postmodernist art is not easy to define precisely,

one important feature is the need for an artist to perform or express his
'art' in front of a live audience. For example, allowing the audience to view
an interesting assemblage or installation would not be considered
Performance Art, but it would be to watch the artist construct the
assemblage or installation.

Performance art refers to art activities that are presented to a live

audience and can combine music, dance, poetry, theater, visual art and
video. Whether public, private or videotaped, performance art often
involves an artist performing an action that can be planned and scripted, or
81
can emphasize spontaneous, unpredictable elements of chance. Various
types of

82
performance art have evolved from simple, often private investigations of
everyday routines, rituals, and endurance tests, to larger-scale site-specific
environments and public projects, multimedia productions, and
autobiographical cabaret-style solo work.

Below are example of performative art emphasizing the different

characteristics of performance art such as spontaneous and one-off, or
rehearsed and series based. It may consist of a small-scale event, or a
massive public spectacle. It can take place almost anywhere and
deliberately thin.

The immediate stimulus for Performance art was the series of theatrical
Happenings staged by Allan Kaprow and others in New York in the late
1950s. Then in 1961, Yves Klein (1928-62) presented three nude models
covered in his trademark blue paint, who rolled around on sheets of white
paper. He was also famous for his "jumps into the void". For more details,
see Yves Klein's Postmodernist art (1956-62). In the early 1960s several
other American conceptual artists such as Robert Morris (b.1931) Bruce
Nauman (b.1941) and Dennis Oppenheim began to include "Performance"
in their repertoires.

Many contemporary artists deal with space by concentrating on real space

— the dimensions of a house, the spaces that we travel through in the city
or in the natural world, the boundless spaces of the sky or the virtual space
of the Internet. We work with fine-art or industrial materials— from wood
and stone to steel and plastic— to frame space or to create spacefilling
work. Materials such as electrical lighting, film, video, or digital media can
also transform, document, or create space. Viewers may be surrounded by
art, or they can contribute to a concentrated experience or a perception of
a real space. When an artist creates a piece of work for a room or a
specific space,
83
it is called installation art. Most installations are temporary and often
require multiple senses, such as sight, sound and smell.
Space is an art transforming space, for example the flash mobs, and
art installations in malls and
parks. It also refers to the
distances or areas
surrounding, within, and
within the components of a
item. Space can be either
positive or negative, open or
closed, shallow or deep, and
two-or three-dimensional.
Often space is not clearly
shown in a piece, but it is an
illusion. It is considered as
the breath of art. Space is
found in almost every
piece of art that has been made.

Photographers capture space, sculptors depend on space and shape, and

architects create space. This is a central aspect of every of the visual arts.
Space provides the audience a guide for the presentation of an artwork.
For example, you can draw a larger object than another to suggest that it
is closer to the viewer. Likewise, a piece of environmental art can be
installed in a way that leads the viewer through space.

Negative and Positive Space

Art historians use the term

positive space to refer to the subject
of the piece itself—the flower vase in
a painting or the structure of a
sculpture. Negative space refers to
the empty spaces the artist has
created around, between, and within
the subjects.

Quite often, we think of positive as

being light and negative as being
dark. This does not necessarily apply
to
every piece of art. For example, you might paint a black cup on a white
canvas. We wouldn't necessarily call the cup negative
84
 because it is the subject: The black value is negative, but the space of
the cup is positive. In three-dimensional art, the negative spaces are
typically the open or relatively empty parts of the piece. For example, a
metal sculpture may have a hole in the middle, which we would call the
negative space. In two-dimensional art, negative space can have a great
impact .(

Below is an example of item specific art form that is performed and

positioned in a specific space such as public places.

As what you have learned above contemporary artists used various

mediums and techniques, applied different elements and principles in their
artworks such as space, appropriation, and performance. But since we are
immersed in a hybridized environment of reality and augmented reality
daily. For artists today, the choice of materials and media for creating art is
wide open. Some artists continue to use traditional media such as paint,
clay, or bronze, but others have selected new or unusual materials for their
arts, such as industrial or recycled materials, and newer technologies such
as photography, video, or digital media offer artists even more ways to
express themselves.

85
 Many artists working today
incorporates more than material
or technique in ways that create
hybrid art forms. Combinations
of still image, moving image,
sound, digital media, and
found objects can create new
hybrid art forms that are
beyond what traditional artists
have ever imagined. Hybridity is
another element and principle
used by contemporary artist
in their
artworks. It is a
usage of unconventional
materials, mixing of unlikely
materials to produce and
artwork. For example, coffee for
painting, miniature sculptures
from pencils.
The concept of hybridity
when applied to culture conveys
elements of all of these
definitions, including positive elements such as diversity, and cooperation,
as well as negative elements such as unviable offspring and unnatural
monsters. In this way the term hybridity contains conflicting connotations.
Hybridity, at the most basic level, implies the mixing of two or more
elements to create a third. Beyond this there is some discussion as to what
cultural hybridity means. How could this idea transfer when we use the term
hybridity to describe contemporary art? What do artists use to make art? This
hybridity in art practice is about transcendence, beyond the visual logic of
the digital or material. In the fluid transaction between states of existence,
algorithm and human error, and different forms of media, something
metaphysical starts to surface in the space between. The concept of
hybridity can be applied to two aspects of art today.
1. Artists today are comfortable using whatever seems best to fully
investigate and express their ideas or concepts and often move among
different media and techniques to express new things in their work.
2. One approach to understanding art today involves identifying what media
and materials the artists chose and considering why they chose to work
with them.

86
Look at the example below of how contemporary artists apply hybridity in
their craftsmanship. The first picture shows a product of mixed media and
hybridity obra maestro by Renee

Isaac .
The second picture shows the creativity
of the artists using coffee for his painting.
https://bit.ly/2AclzJO

What have you observed in their art works? What are the materials they
used to come up with this craftsmanship? How does a technique or
medium limit or expand meaning in art? How do artists make choices about
materials and techniques for their art? Well, whatever the decisions of the
artists make concerning media and materials are often affected by ideas
they want to express about their experiences living today.

Furthermore, humans have created art through the ages, but various
cultures have defined it differently. Throughout the history of Western
culture, the nature of art has been debated, leading to the formation of an
entire branch of philosophical study called aesthetics. Today, most experts
agree that there is not only one definition of art, but that it encompasses a
variety of ideas, approaches, and qualities.

So, in this age of transition in which material and digital experience

are in an unprecedented state of coexistence, our understanding of the
physical is being endlessly reshaped by advancements in technology.
Consequently, the very meaning of physicality and its apparent importance
to us has become subject to questioning.

87
Since the 1960’s the term new media art was coined and it was used to
describe practices that apply computer technology as an essential part of
the creative process and production.

Placing the term under a vast umbrella known as new media, computer
production, video art, computer-based installations, and later the Internet
and Post Internet art and exploration of the virtual reality became
recognized as artistic practices. The term, in the contemporary practice,
refers to the use of mass production and the programs as what we called
Technology art. The use of technology in the creation and dissemination of
art works.

As such, designers, and artists to produce commercial pieces or for more

elaborate and conceptual works implement many different computer
programs, such as 3D modeling, Illustrator, or Photoshop.

88
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I. Kinds of Elements and Principles of arts

From the concept note above, try to label the art works below with the
different elements and principles of contemporary art. Kindly give some
statements regarding every figure. (teacher will give rubrics as a tool for
scoring)

Figure 1 Figure 2

Figure 3

89
 Figure 4 _ Figure 5
II. Multiple Choice. Select the letter of the best answer from among
the given choices.
1. It refers to the use of mass production and the manipulation of the virtual
world.
A. Technology art B. Appropriation C. Hybridity D. Space
2. Which is true about hybridity?
A. Transcendence B. Heart of the art C. spacious D. more on
graphics
3. It is an art of transforming space.
A. Technology art B. Hybridity C. Appropriation D. Space
4. It is a usage of unconventional materials, mixing of unlikely materials to
produce and artwork.
A. Technology art B. Hybridity C. Appropriation D. Space
5. It is an art of today produced by the artists of today.
A. Appropriation B. Hybridity C. Contemporary D. Space
6. It is the process of making new content by taking from another source
pre-existing image books on art history, ads, the media — and
incorporating or combining it with new ones
A. Appropriation B. Hybridity C. Contemporary D.
Space
7. It is an art of today produced by artists living of today.
A. Appropriation B. Hybridity C. Contemporary D.
Space
8. It refers to art activities that are presented to a live audience and can
combine music, dance, poetry, theater, visual art and video.
A. Appropriation B. Hybridity C. Technology D. Space
9. He devised the concept of the ‘readymade’, which essentially involved an
item being chosen by the artist, signed by the artist and repositioned into a
gallery context
A. Felipe de Leon B. Ryan Cayabyab C. Jason Pollock D. Marcel Duchamp
10. Which is true about space.
A. the heart of art
B. provides the audience a guide for the presentation of an artwork
C. interprets various human activities
D. usage of unconventional materials

90
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Research an artwork made by the contemporary artists. Apply the different elements
and principles of contemporary art you have learned from this lesson. Then post
your output on your journal or blog. (The teacher will make rubrics as a tool for
scoring)

91
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Subject: Contemporary Philippine Arts Across Regions

LESSON 9- Contemporary Art Techniques and Performance in Mindanao
Filipinos are proven to be one of the most creative and colorful people in the
world. The types of arts that are produced in different regions, each region has its
unique specialties of product to take pride. Philippines is very rich in natural
resources especially in Mindanao. We can maximize the use of natural resources
even in creating arts. Art expresses the artistic feelings towards any aspect of life.
In this lesson, you will learn about the contemporary art techniques and
performance in Mindanao by studying its history, characteristic features of the
Minadanaoan Visual Arts and Crafts, their attire, textiles and tapestries as well as
famous artists and selected art crafts of the period.

ARTS AND CRAFT OF MINDANAO

Mindanao, referred to as “THE
LAND OF PROMISE”, is the second
largest and southernmost island in
the Philippine Archipelago.
Mindanao also has the largest
concentration of ethnolinguistic
groups and culturally diverse island.
These groups are mostly Muslims
from the Badjao, Iranun, Jama
Mapun,
Kalagan, Kalibugan, Manobo,
Maguindanao, Sama Bangingi, Sama Pangutaran, Samal, Sangil, Tausug, and Yakan
groups. Other groups are the Lumads, or those who have maintained their
indigenous beliefs and traditions instead of converting to Islam or Christianity.
Before Islam came to the Philippines, early Filipinos worshipped believe that plants
and inanimate objects are home to ancestral spirits.
They also believed that natural phenomena are caused by gods. These
indigenous beliefs system is called animism. The conversation of the natives and
the arrival of Muslim traders and merchants resulted in new forms of artistic
impressions. This fusion of beliefs created a unique blend of spirituality and
creativity.

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 ATTIRE, TEXTILES, AND TAPESTRIES
The Bilaan or B’laan is an
ethnolinguistic group that inhabit some parts
of South Cotabato,
North Cotabato, and Davao del Sur. B’laan is
a combination of two words, “bila” which
means “house” and “an” which means people.
They are known for embroidery, brass
ornaments and beadwork that are integrated
in their traditional clothing. The women wear
heavy brass belts with numerous tiny bells
that hang around their waistline. They also cut mother-of-pearl into small shapes
that look like sequins called takmun.
Ikat is a process of dyeing the fabric where the yarns are tightly wrapped
with the strings and dyed before weaving. The textiles usually contain three colors:
shades of black or browns, red or ochre (darker shade of orange), and ecru (the
color of undyed abaca).

The Bagobos are the group of people that

live in Davao. According to anthropologists, the
name of
this ethnolinguistic group comes from the words
“bago” means “new” and “obo” means “growth”.
This is because they are believed to have come
from the mixture of the native population with
the Hindu migrants that entered Mindanao
during the Sri Vijayan and Majapahit Empires.

They make these clothes from a special textile woven from abaca fibers called
T’nalak. The men wear t’nalak shorts, an undershirt, and a T’nalak coat. The Bagani
or hero wear blood-red clothes and a head-kerchief. The women wear wrap-around
t’nalak skirt and blouses are adorned with floral pattern.

93
 The T’boli who live in and
around Lake Sebu, South Cotabato
are famous for their complicated
beadwork, wonderful woven fabrics,
and beautiful brass ornaments.
Tboli weavers believe that their
gods and ancestors visit them in
their dreams to teach them the
designs and patterns that they have
to weave. The most famous T’boli
dream weaver is Lang Dulay who
received the National Living
Treasures – Gawad Manlilihikha ng
Bayan awarded by the National
Commission for Culture and the
Arts or NCCA. Men are not allowed
to touch the materials used in the
weaving process. They believe that
if they break the rules, the fiber will
snap and the
designed will be ruined. T’nalak
production is a painstaking process that requires patience, a lot of creativity, good
memory, and a range of skills learned from a young age by the weavers.

Maranao means “People of the Lake” referring to the people who occupy the
lands surrounding Lake Lanao Maranao. The Maranaos are known for their Malong.
The Malong is a traditional Filipino tube skirt that is made of hand woven or machine
made multi colored cotton cloth. Women wear it as a skirt, a dress, or a gown.
Depending on how its folded, it can also be used as hammock, a basket, a sleeping
bag, a bathrobe, or a baby carriage. The Malong is important part of Maranao life. A
new born is wrapped in it and, as he or she grows, it becomes a part of his or her
daily life as clothing and as material for everyday use. When a person dies, he or
she is once again wrapped in a malong. A traditional dance called Kapa Malong
Malong or Sambisa Malong, demonstrates the various ways of wearing a malong and
its uses. Yakan Basilan is the home to the Yakans. They are popular for their skills in
weaving. They weave very intricate designs in their textiles, which they use for their
clothes and other accessories.

94
Yakan hand-gloomed fabrics are known for their use of bold colors and geometric
patterns. The Seputangan is a square cloth used by the Yakan women as a head
cover or as a belt. The Badjulapi is a tight blouse with longsleeves. It is ornamented
with gold, silver or bronze buttons. The sawal is a tradional tight fitting trousers
made of yakan fabric characterized by its vertical stripes. Yakan The Pinalantupan, a
type of skirt, is layered over the trousers.

CONTEMPORARY ARTISTS IN MINDANAO AND THEIR MASTERPIECES

Red Genotiva (b. 1993) was born in Davao City. As a child, he would
draw characters from Japanese anime that he often saw on television, posters, and
other media platforms. Soon, this hobby turned into a serious interest in the arts.
Among artists who influenced his art practice and unique stylistic approach,
Genotiva cites Mark Ryden, Ron English, Charlie Immer, Naoto Hattori, Hikari
Shimoda, and Yoko D’ holbachie.

Indeed, Genotiva’s body of works tend to be characterized by art world

observers as pop-surrealist. He often signs his works with the name “Oni” as a nod
to his formative years. In Japanese folklore as remediated in animated content
and manga, “oni” means demon, ogre, or troll, also collectively called “yokai” or
creatures of the underworld.

95
 Often these are tragic beings rejected by the
light yet imbued with human-like qualities in a visual
culture where the line between good and evil is
never clearly demarcated. Genotiva is known for his
stylized figures of children – anthropomorphic yet
rendered in exaggerated proportions with multiple
eyes, tentacles, and are often set in dream-like
landscapes that at times teem with melancholy
despite the solid luminous hues. The images are
almost kawaii but not quite, adorable yet uncanny
and unsettling. Oni’s solo exhibitions include
“Playhouse” at the Morning Light Gallery in Davao
(2018) and “Together We are Friends” at the Jose T. Joya Gallery in UP Cebu.

He has participated in a number of group exhibitions in Cebu City (2015-2018), Art

Portal Gallery for Contemporary Art Davao (2018) and District Gallery in Quezon City
(2018). A recent solo exhibition was titled “Children” and curated at the Art Portal
Gallery for Contemporary Art (2019). Genotiva currently resides in Cebu City.

Norman “Nonoy” F. Narciso (b. 1975) is from Davao City. He took up literature
at the Holy Cross of Davao College. He did not go through formal training in the
visual arts in any academic institution. He was inspired by the dynamic arts scene of
Davao. During his formative years, he involved himself in creative productions in
school and the church. He learned how to play the guitar and participated in
community theatre.
At Magallanes Elementary School in Davao, he participated in the Rondalla.
He also attended painting workshops at the San Roque Elementary School. One will
observe that many of his artworks blur the ontologies of musical instrument,
sculpture, and installation.

96
 Jester Gumanao Oani (b. 1995) is from
Lunga-og Sto. Tomas, Davao Del Norte. The 8th of
nine siblings, his father was a skilled carpenter
and his mother, like some of his female siblings, is
a seamstress. Thus, he witnessed his family
working with fabric, metal, wood, and industrial
materials.
This kind of relationship with the materials of
industry informs Jester’s praxis as an artist.

Of his path as an artist, he said: “Being an

artist is a struggle due to the inconsistencies and
economical hindrances in art production. However, I’d rather focus on recreating
ideas, tinkering with concepts, and engaging with issues in my environment. The act
of creating
sculpture is sometimes comparable to play, as though I am creating a toy that I will
eventually let go of before I helm another piece. I strive as an artist because I am
aiming for a sustainable and meaningful life through my artworks and practice.”
Oani has already been featured in a number of remarkable exhibits since
2012. One is the 45th Shell National Student Art Exhibition in Ayala Museum, Makati
City where many emerging artists begin their careers. Others include “Bata-Bata” in
SM Lanang Premiere organized under Kublai Millan. The years 2013 to 2015 were
marked by several local art events in Davao, mostly in malls, and other pragmatic
spaces. The artist has also been included in exhibits at the Museo Dabawenyo
(2016) and one organized by the Finale Art File Gallery in SM City Ecoland in Davao
(2016). In 2019, his work was well received in Art Blast 2019 hosted by Artasia
Gallery in SM Megamall (2019).

Dennis Puzon (b. 1995) was born in Davao

City. He first studied Fine Arts at the Ford Academy
of the Arts (2012-2014) before he transferred to
the University of Mindanao where he graduated in
2018.
Among his mentors at the Ford Academy include
Banjo Satorre, Glenn Baga, Magtanggol Cadayona,
and Jimmy Ang. Rogelito Cayas Jr., Dominador
Pamisa, Alynnah Macla Tadeo and Victor
Dumaguing are his mentors at the University of
Mindanao.

97
 Paula “Pau” Magpayo Feliciano
(b. 1997) was born in and spent her
formative years in South Cotabato before
moving to Matina, Davao. She studied in
the Fine Arts Program of the University of
Mindanao. Distinct are Feliciano’s works,
usually of small canvases that usually
feature pop surreal images.
Aside from local art events in Davao,
some of the platforms where Feliciano’s
works were previously featured include “Art
Atelier II” at the Museo Dabawenyo (2017),
“Configure” in Art for Space and Urban Chic Galleries San Pablo,

Laguna (2018), Art in the Park Manila (2018 and 2019), and “Art Blast: Young
Bloods and Young
Hearts” a group exhibition hosted by the Art Asia Gallery (2019), and a
contemporary surrealist exhibit titled “The Rise of Pop Surrealism:
from Underground to Mainstream” in Arte Bettina
Gallery (2019).

Feliciano’s works were also part of

exhibits represented by Art Portal Gallery
for
Contemporary Art Davao: “In Retrospect”
(2018) and “At the Precipice” (2019).
Recent exhibits also include “The
Pursuit of Normality,” a four-woman show
at the Art for
Space Urban Chic Gallery (2019) and “The River Flows North” presented by the
National Commission for Culture and the Arts and Art Portal held at the NCCA Gallery
in Intramuros (2019).

98
 Eloisa B. Sanson (b. 1996) is from General
Santos City. She studied at the Philippine Women’s
College of Davao (2015-2019) and pursued a
career in the arts under the mentorship of Rodney
Yap, Dominic Turno, Romeo Dumuk III, Wilfred
Dexter Tañedo, Emi Englis, and Mai Ongkiko.

All her exhibitions are group exhibitions.

She participated in iterations of the Shell National
Art Competition at the Ayala Museum, Makati City
(2015and 2017), and exhibits organized by her
school. She also joined the Metrobank Arts and
Design Excellence competition (2017 and 2018).
Fondly called “El San,” her works were featured at the Art Portal Gallery,
Davao City and “At the Precipice” in a mall exhibit curated by the same gallery.
Other venues that featured her works include Morning Light (2018) in an exhibit
titled “Homage to the Salon Des Refuses” and public relations campaigns of malls.

Leonardo C. Comargo Jr. (b. 1982) is

from Calagundian, City of Mati, Davao Oriental. He
is currently studying Painting at the Bachelor of
Fine Arts Program of University of Mindanao.

Past exhibits in the local context include iterations

of Art
Atelier at the Museo Dabawenyo (2015, 2017),
“Obra Ginagmay” in Felcris Centrale (2016),
“Merging Current” at the Matina Town Square
(2017), and other exhibits in malls and schools in
Davao.
He also participated in Art in the Park in Makati
(2018), “In Retrospect” at Art Portal, Gallery for
Contemporary Art (2018), “What does it mean to
be Filipino?” under CANVAS Gallery held at the
Vargas Museum in Diliman Quezon City (2018),
“Configure” at the Art for Space and Urban Chic
Gallery in San Pablo City, Laguna (2018),
“Engkwentro sa Labuyo” at Art For Space and
Urban Chic in Laguna (2019) and Art Blast “Young
Bloods and Young Hearts” hosted by Artasia Gallery
(2019).

99
 Trexia Sola (b. 1999) is from Tagum City, Davao del Norte.
She is currently studying under the Fine Arts program of the
University of Mindanao under Rogelito Cayas Jr., Alynnah
Macla Tadeo and Victor Agustus Dumaguing. Prior to this,
she took art workshops. She started painting in second year
high school when she entered a workshop called Sining
Mata. Her works have been featured in several local
platforms such as Tabula Rasa Gallery (2015) and Museo
Dabawenyo (2015) and exhibits organized by the University
of Mindanao (2015, 2017).
Her works were also included in exhibits curated by Art Portal Gallery for
Contemporary Art (2018), and Art
in the Park in Makati (2018). Recent exhibits that featured her work include “At the
Precipice: Davao Art on the Brink of Change” at the Davao Art Market in Abreeza
Mall, Davao (2019) and “Pursuit of Normality” hosted by the Art Exhibition Art for
Space and Urban Chic Galleries in Alabang, Metro Manila (2019).

Angelo Florante Nur Valente (b. 1995) studied

in the University of Mindanao under Rogelito “Jun” Cayas,
Victor Agustus Dumaguing, and Alynnah Macla-Tadeo.

His works were featured in multiple exhibits in

Davao City, such as Art Atelier Exhibition (2016), Merging
Currents (2017), Sensitive Encounters: Mindanao (2017),
and Ugnayan Art Exhibit (2017). Ang, as an artist, aims to
tell the stories from the society where he grew up, to
share the cultures he witnessed, and to illustrate the epics
and mythologies from all the ethnic groups in the country.

10
0
 Laya Boquiren is a Doctor of Philosophy in Philippine Studies with main areas
in Philippine Art and Culture. She co-curated the international travelling exhibit Field
Trip Project Asia at the Vargas Museum (2015) and initiated
related off-site curated endeavors in Baguio City, Tanauan, Leyte,
and 98B Escolta.
In the past, she served as curatorial consultant for Gallery
Genesis and Museo De Intramuros. Boquiren has contributed in
academic journals, published books and contributed chapters of
books under Vibal (2015-17), has authored a book on Pro
Ecclesia et Pontifice awardee Willy
Tadeo Layug (2017), for whom she curated the artist’s second
solo exhibition at the NCCA Gallery and authored a corresponding
monograph published by the institution (201718).
Her most recent publications include Now Here: Access,
Activate, Rewind (2018) for Erehwon Center for the Arts and the

8
newly launched book on grandmaster of Philippine aquarelle Toti Cerda (2019). She
obtained a master of arts in Art History from the University of the Philippines,
Diliman (2009), and has completed short programs at the Institute of Media and
Entertainment in New York (2009) and Keio University in Japan (2010).
Boquiren currently teaches at the Arts Department of the University of Asia
and the Pacific. Her recent curatorial project includes The River Flows North
featuring Davao-based artists at the NCCA Gallery. Her cultural work has always
been multi- local, her paternal relatives being from Cagayan de Oro.
 Green Rose Center for Academe Inc.
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I. MODIFIED TRUE OR FALSE
Read each sentence and identify it is true or false. Write TRUE on the line
before each number if the sentence is true. If the statement is false, write FALSE
and underline the word/s that makes it incorrect.

1. B’laan is a combination of two words, “B” which means “house”

and “laan” which means people.
2. Bagobos make these clothes from a special textile woven from abaca
fibers called T’nalak.
3. The Malong is a traditional Filipino tube skirt that is made of hand
woven or machine made multi colored cotton cloth.
4. The Yakan is a square cloth used by the Seputangan women as a
head cover or as a belt.
5. Genotiva is known for his stylized figures of children –
anthropomorphic yet rendered in exaggerated proportions with
multiple eyes, tentacles, and are often set in dream-like landscapes
that at times teem with melancholy despite the solid luminous hues.
6. Some of the works of Paula “Pau” Magpayo Feliciano are titled
“Engkwentro sa Labuyo” and “Young Bloods and Young Hearts”
7. Norman “Nonoy” F. Narciso did not go through formal training in the
visual arts in any academic institution.
8. Mindanaoan believed in animism.
9. Jester Gumanao Oani he witnessed his family working with fabric,
metal, wood, and industrial materials.
10. Ikat is a process of dyeing the fabric where the yarns are tightly
wrapped with the strings and dyed before weaving.
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Subject: Contemporary Philippine Arts Across Regions

LESSON 10: Artistic Skills and Techniques

The previous lesson scanned the arts and crafts in Mindanao. We were able to
study the attire, textiles, and tapestries created by B’laan, Bagobos, T’boli, Maranaos
and Yakan groups. We also recognized some Mindananoan contemporary artists and
their masterpieces. These artists shared some of their techniques in making
contemporary artworks. These artistic skills and techniques will be elaborated in this
lesson.
Many contemporary artists do not have formal studies in the fine arts. Many of
them are selftaught. Concerned with the development of their talent and skills in
artmaking, they study on their own, interact with artists and read a lot about lives of
artists and their artworks. They also explore the materials in hardware stores,
experiment with chemical reactions on their base material. Some hire resin makers,
house painters and materials fabricators to help them in constructing artworks.

In this lesson, we will learn the meaning of “artistic skill” and “technique”
through actual and hands-on activities. We will also learn that artists’ choice of
material and how they use these materials are at the heart of making art, and that
these involves process and transformation.

With the broadening of the art world, many people are getting confused about what
qualifies as an artistic skill. Artistic skills are abilities that are possessed by artists
who operate within a fine art capacity.
Each artist uses different mediums to develop their artistic skills. A medium is
defined as the material, or the substance out of which a work is made. Through
these materials, the artists express and communicate feelings and ideas.

The medium also defines the nature of the art form as follows:

1. The sculptor uses metal, wood, stone, clay, and glass. Sculptures fall
within the category of “three-dimensional” arts because they occupy space
and have volume.
Pottery is a form of sculpture. Other examples are nudes or figures such
as Guillermo Tolentino’s Oblation, ritual objects such as bulul wood
carvings in the cordillera, or the santos or carvings of saints in Christian
churches.

2. The architect uses wood, bamboo, bricks, stone, concrete and various
building materials. Buildings are also called “three-dimensional”. However,
architecture has the added element of time since we move into structures.
 3. The painter uses pigments (e. g. watercolor, oil, tempera, textile paint,
acrylic, ink, etc.) on a usually flat ground (wood, canvas, paper, stone wall
such as cave paintings.)

4. The printmaker uses ink printed or transferred on a surface (wood, metal

plates, or silk screen) that is keeping with a duplicating or reproducing
process. Prints and paintings are further classified as “two-dimensional”
arts, because they include the surface or ground on which coloring
substances are applied. However, while paintings are unique and one-of-a
kind, prints can be reproduced in several pre-determined editions.

5. The musician uses sound and instruments (including human voice), while
the dancers use the body. A T’boli chanter sings creation stories in a way
that is different from a classical singer or pop music influenced by the
Western music scale.

6. The dancer uses he body and its movement. Dance is often accompanied
by music, but there are dances that do not rely on musical accompaniment
to be realized. Dance can tell stories, but the other times, they convey
abstract ideas that do not rely on a narrative.

7. The theater artist integrates all the arts and uses the stage, production
design, performance elements, and script to enable the visual, musical,
dance and other aspects to come together as a whole work.

8. The photographer and filmmaker use the camera to record the outside
world. The filmmaker uses the cinematographic camera to record and put
together production design, sound engineering, performance, and
screenplay. In digital photography and film, the images can be assimilated
into the computer, thus eliminating the need for celluloid or negatives,
processing chemicals, or print.

9. The writer of a novel, poetry, nonfiction, and fiction uses words. The
designer, the performance artist and installation artist combine use
of the range or materials above.

TECHNIQUE

Technique is the way artists use and manipulate materials to achieve the desired
formal effect, and communicate the desired concept, or meaning, according to his or
her personal style (modern, Neoclassic, etc.). The distinctive character or nature of
the medium determines the technique.
Technique involves tools and technology, ranging from most traditional (for example
carving, silkscreen, analog photography, and filmmaking) to the most contemporary
(digital photography, digital filmmaking, music production, industrial design, and
robotics).
Here are some of art techniques used by artists.
1. Collage – is the technique of an art production used in the visual arts where
the artwork is made from on assemblage of different forms, thus creating a
new whole. Collage may sometimes include magazines and newspaper
clippings, ribbons, paints, bits of colored or handmade papers, portions of
other artwork or texts, photographs, and other found objects, glued to a piece
of paper or canvas.
2. Decollage – is the opposite of collage; instead of an image is being built up
all or parts of existing images, it is created by cutting, treating away or
otherwise removing pieces of an original image. The French word “Decollage”
in English means “Take-off” or “To become Unglued” or “To become unstuck”.
Example of decollage include cut-up technique. Similar technique is the
lacerated poster, a poster in which one has been over another.
3. Graffiti – are writing or drawings that have been scribed, scratched, or
painted illicitly on a wall or other surface, often in a public space. Graffiti
range from simple written words to elaborate wall paintings. Graffiti may
express underlying social and political messages, and a whole genre of artistic
expression is based spray paint graffiti styles.
4. Land Art – earth works, or earth arts is an art movement in which landscape
and the work of art are inextricably linked. It is also an art form that is created
in nature, using natural materials such as soil, rock (bed rock, bolders,
stones), organic media (logs, branches, leaves), and water which introduced
materials such as concrete, metal asphalt, or mineral pigments.
5. Digital Arts – is an artistic work or practice that uses digital technology as an
essential part of the creative or presentation process. Digital art is work made
with digital technology or presented on digital technology. This includes
images done completely on computer or hand-drawn images scanned into a
computer and finished using a software program like Adobe Illustrator. Digital
art can also involve animation and 3D virtual sculpture renderings as well as
projects that combine several technologies. Some digital art involves
manipulation of video images. After some resistance, the impact of digital
technology has transformed activities such as paintings, drawing, sculpture,
and music/sound art, while new form such as net art.
6. Mixed Media – It refers to a work of visual art that combines various
traditionally distinct visual art. For example, work on canvas that combines
paint, ink and collage. When creating a painted or photograph work using
mixed media, it is important to choose the layers carefully and allow enough
dying time between the layers to ensure the final work will have structural
integrity, if many different layers are imposed. Many effects can be achieved
by using mixed media. Found objects can be used in conjunction with the
traditional artist to attain a wide range of self-
expression.

7. Print Making – is the process of making artworks by painting, normally in

the paper. Prints are created by transforming ink from a matrix ink from a
matrix or through a prepared screen to a sheet of paper or other material.
Common types of matrices include metal plates, usually copper or zinc, or
polymer plates
 for engraving or etching; stone aluminum of polymer for lithography; blocks of
wood crafts and wood graving; and linoleum for linocuts. Screen made of silk
or synthetic fabrics are used for the screen-printing process.
8. Frottage – is the technique of rubbing with crayon on a piece of paper which
has been placed over an object or an image. The impression of the image can
be created using leaves, woods, wire screen, or metal with embossed image
or words.
9. Decalcomania – is the process of applying gouache to paper or glass then
transferring a reversal of the image onto canvas or other flat materials.
10. Decoupage – is done by adhering cut-outs of paper and then coating these
with one or transparent coating of varnish.

3
11. Eggshell mosaic - is an artistic technique that uses tiny parts of eggshell to
create a whole image or object. Mosaics are usually assembled using small
tiles that are square, but they can also be round or randomly shaped.
12. Trapunto painting – is the technique used by Pacita Abad where her
canvases are padded, sewn, and often filled with sequins, beads, shell,
buttons, tiny mirrors, bits of glass, rickrack, swatches of precious textiles and
other things that she picks up from her travels and journey.

Art is considered an “artifact’ when it is directly experienced and perceived. It can

be spatial and static or unmoving (e.g., a painting or building, or a novel) or time
based and in motion (e.g., a live theater production, mobile sculpture).

To know the full meaning of a work, it is also necessary to study the material
from which it is made and how it is made.
 Collage Land Arts Digital Arts

Graffiti Mixed Media Decollage

Print Making Eggshell Mosaic F rottage

Decalcomania Decoupage Trapunto paintin g

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A. Read the sentence carefully, select the letter of your choice and place it on
your answer sheet.
1. An artwork made with digital technology or presented on digital technology.
This includes images done completely on computer.
a. Collage c. Print Making
b. Land art d. Digital Art
2. Earth work or Earth art movement in which created in using natural
materials such as rock, soil, organic media, and water.
a. Collage c. Print Making
b. Land art d. Digital Art
3. It is the art process of making artworks by painting normally in the paper.
a. Collage c. Print Making
b. Land art d. Digital Art
4. Instead of an image is being built up, all parts of existing images, it is
created by cutting or treating away from its original image.
a. Decollage c. Print Making
b. Land art d. Digital Art
5. These are writings or drawing that have been scribe, scratched, or
painted illicitly on a wall or other surface often in a public space.
a. Land Arts c. Digital Arts
b. Collage d. Graffiti

B. LET’S IMAGINE!
Imagine you are going to have an art exhibit that will stage in a major mall in your
place. Answer the guide questions below to create a concept of your art exhibit.
Guide questions:
1. What artistic skill/s should I use?

2. What medium/s should I use?

3. What technique/s should I use?

4. How big or small is my exhibit? Should I display it inside or outside the mall?

5. Should I open my art exhibit to public?

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Create a contemporary art using the eggshell mosaic art technique. Gather the
materials you need and follow the steps in collage making.
Rubric:
Technique 35 points
Creativity 25 points
Craftsmanship 25 points
Effort 15 points
Total 100 points

Materials you need:

• 1 Oslo paper
• Eggshells (cleaned and dried)
• Glue
• Watercolor/ acrylic paint/ dye/ other coloring materials
• Pencil
• Marker How to Make:
Step 1. Decide on a theme or idea for your collage (example ideas: landscapes,
flowers, event, etc.).
Sketch it first on your Oslo paper using a pencil.

Step 2. Using the marker, outline your sketch.

Step 3. Take your eggshells and break them into small pieces. Arrange the eggshells
onto the paper. Make sure you do not cover the outline of your sketch.
Step 4. If you are satisfied with the arrangement of the eggshells, carefully glue the
pieces of eggshells together. Let it dry.
Step 5. Add accent pieces using the coloring material. Using watercolor, acrylic
paint, dye or other coloring materials, color the eggshells according to your
taste and creativity.
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Subject: Contemporary Philippine Arts Across Regions

LESSON 11- Characteristics of Contemporary Arts

CHARACTERISTICS OF CONTEMPORARY ARTS

The most prominent feature of contemporary art is the fact that it has no

distinct feature or a single characteristic. It is defined by the artist’s ability to

innovate and bring out a modern masterpiece. Here are a few of the technical

characteristics:

Innovation in Art

From the meaning of contemporary, contemporary art is an art that is living in

present times. It reflects current issues or current events. So, from time to time it

changes along with the society. It could sometimes break the rules of traditional art,

created by modern humans.

Contemporary artists have been the pioneers in introducing new forms of art

to the world. Different art forms have been combined or newer ideas employed to

bring out newer types of art. It could be a public mood, and it could be an effect of

being resourceful of any artist. Contemporary art guides us to have reflection on our

society and its issues on politics, economy, culture and the likes. Contemporary

artists use their masterpieces to comment on cultural, political, and global issues,

including race, feminism, human rights, civil, rights, gender equality, wars, economic

inequality, and global conflicts.

Change is a very significant aspect of humanity, still, art remain as part of

living.
 Collage art is an example of innovation
that proved to be a great example of modern
contemporary art. Likewise, mixed forms of
assemblage, different variants of kinetic art as
well as different categories of photography,
animations and land art are a result of bringing
together newer ideas.

Emmanuel Garibay. Hangarin

(Aspiration/Goal), 2008. Oil on canvas. 79
x 75 inches. Courtesy of the artist.
Hangarin (Aspiration/Goal) is a depiction of
the passionate Filipino interest in sports,
especially basketball. The game is part of daily
life for young men in particular, who enjoy its
physicality and community appeal. In a
dynamic, well observed work, Garibay illustrates
a group of youths jostling on a court set in a
Here are some contemporary art closed if not confined urban environment.
works that reflects the society.

Emmanuel Garibay. Corpus Christi, 2008.

Oil on canvas. 48 x 72 inches. Courtesy of
the artist.
Humorous and chaotic image comes a
more complex work entitled Corpus
Christi, a meditation on the meaning of
Christ in culture. The painting offers
multiple perspectives and invites the viewer
to circumnavigate it like a mapmaker or
explorer.

Emmanuel Garibay. Pagpasok ni Kristo sa

Maynila (Christ Entering Manila), 2008.
Oil on canvas. 58 x 76 inches. Courtesy of
the artist.
In the crowded complexity of a street
festival, so much a part of the rhythm of
Filipino community life, we see the signs
and symbols of faith and begin to look for
the figure of Christ.
Using New Materials
Another characteristic that was employed to bring about modern art was the
employment of different objects, materials that looked useless to the common man
but were brought to great use by modern artists. The means or instruments to make
the works of contemporary art are changing and new technologies are used day by
day.
For instance, painters used pieces of newspapers as a backdrop to their
canvases and created masterpieces of modern art from it. It was unprecedented to
use something like a newspaper in a painting. Similarly, sculptors used pieces of junk
to produce what is now known as junk art. Also, common items like cars, chairs,
boxes have been used masterfully to create assemblages. Some sculptors and other
artists who work in three-dimensional media, painters, photographers, video, and
installation artists. They make use of materials and media such as wood, paper,
paint, milk, rice, pollen, wax, plaster, stone, glass, metal, plastics, photos, slides,
videos, and computers.
Here are some contemporary art works that used new materials.

Newspaper in a painting Junk art assembled using plastics

Art using rice Art using stone Art using pollen

Use of Color
Traditionally, color was used as means to bring reality to paintings and art pieces.
However, modern artists experimented with colors and used it unconventionally to
make new textures and themes and used them in their pieces of art. The colors
used are strong and the content is symbolic.
Color is often one of the most exciting components of a painting. In both figurative
and abstract painting, color can be used for its decorative beauty, to create mood
and to express or arouse an emotion. In nature and in art, color has a profound
effect on the viewer.
Cool colors, which is based on blue undertones, bring a calming effect to the mind.
These colors range from cold icy blues to warm and nurturing Mediterranean
turquoises. Blue represents dependability. Warm colors, which is based on yellow
undertones, tend to convey emotions ranging from happiness to violence. Red,
orange, and yellow colors trigger hunger. Red instantly attracts, makes people
excited and increases the heart rate.

Two watercolor paintings showing warm and cool colors. The warm painting
on the right is predominately shades of orange and yellow. The cool painting on the
left is predominately blue and green. These two paintings serve as demonstrations of
how different the feelings are between the color temperatures.
As an example, expressionism was mostly based on the vibrant and
expressive use of colors as a tool to innovate their paintings. Expressionist art tried
to convey emotion and meaning rather than reality. Each artist had their own
unique way of "expressing" their emotions in their art. In order to express emotion,
the subjects are often distorted or exaggerated.

Newer Techniques
Modern art is not only about playing and experimenting with colors and
objects, rather it has also given birth to newer techniques that form the basis for
contemporary art today.
 Abstract expressionism is a style of art that has meant one of the main
manifestations of the spirit of the 20th century. It emphasizes the expressions of the
self and emotions. The colors are more violent, and the content has a symbolic tint.

Example of abstract expressionism

Chromolithography is a prime example of a technique that was developed
by Jules Cheret. Chromolithography is a unique method for making multi-color
prints. A chromolithograph is made using anywhere from eight to forty stones, one
for each color. The chromist, who specialized in breaking down the colors needed to
re-create the painting in ink, would
document this process in a
progressive proof book, so that
the image could be recreated
easily again if needed.

Example of chromolithography

Another characteristic of contemporary art is that it is avant-garde and

surrealistic. Surreal artists introduced automatic drawing to the world of art.
Surrealism was focused on tapping into the unconscious mind to release creativity.
Surrealistic art is characterized by dream-like visuals, the use of symbolism, and
collage images.

Example of surrealism
 Fauvism comprises the first of the expressions of contemporary art. Its name refers to
a group of French painters who in 1905 filled the Paris autumn salon with works. The specific
characteristics of Fauvism are aggression in the use of colors (basically primary,
complementary along with garish tones) and their autonomy in relation to shapes.

Example of fauvism
Cubism is a style of art which aims to show all the possible viewpoints of a person
or an object all at once. It is called Cubism because the items represented in the artworks
look like they are made out of cubes and other geometrical shapes.

Example of cubism
Neoplasticism is based on two-dimensionality, use of straight lines and primary
colors. Its objective is to divest itself of the particular to manifest the purity of art.

Example of neoplasticism

100
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MULTIPLE CHOICE. Encircle the letter of the best answer from the choices.
1. Contemporary art is art that is living in .
A. future times C. past times
B. present times D. mind
2. Neoplasticism uses .
A. straight lines and primary colors.
B. tapping into the unconscious mind to release creativity.
C. emphasizing the expressions of the self and emotions.
D. showing all of the possible viewpoints of a person or an object all at once
3. Surrealism art is focused on .
A. straight lines and primary colors.
B. tapping into the unconscious mind to release creativity.
C. emphasizing the expressions of the self and emotions.
D. showing all the possible viewpoints of a person or an object all at once
4. This is a style of art that emphasizes the expressions of the self and emotions.
A. Fauvism C. Neoplasticism
B. Abstract expressionism D. Cubism
5. is often one of the most exciting components of a painting.
A. Technique C. Color
B. Design D. Medium
6. Sculptors used pieces of junk to produce what is now known as .
A. poetry C. novel
B. painting D. junk art
7. Which of the following is not considered as a warm color?
A. Blue C. Orange
B. Red D. Yellow
8. A technique is called because the items represented in the artworks look
like they are made from cubes and other geometrical shapes.
A. Fauvism C. Neoplasticism
B. Abstract expressionism D. Cubism
9. These colors bring a calming effect to the mind.
A. Cool colors C. Warm colors
B. Bright color D. Dark colors
10. Warm colors convey the following emotions expect .
A. happiness C. excitement
B. violence D. dependability

101
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CONTEMPORARY ART MAKING

Create a contemporary art using one of the techniques (abstract expressionism,
surrealism, fauvism, or neoplasticism). You can make it using bond paper, illustration board,
Oslo paper or any medium you want. Write a brief explanation of your art. You can use the
guide question below to write you explanation. Teacher will use rubrics for scoring.
Guide questions:
1. What is the title of your contemporary art?
2. What technique did you use?
3. What medium/s did you use?
4. What is the theme of your art?
5. What ideas you to convey to the audience of your art?

102
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Subject: Contemporary Philippine Arts Across Regions

LESSON 12- CONTEMPORARY ART TECHNIQUES
1. MINIMALISM.
-an extreme form of abstract art developed in the USA in the 1960s and typified
by artworks composed of simple geometric shapes based on the square and the
rectangle.
Qualities of minimalist art

 Aesthetically, minimalist art offers a highly purified form of beauty. It can also be seen
as representing such qualities as truth (because it does not pretend to be anything
other than what it is), order, simplicity and harmony.
 To expose the essence, the essentials or to identify a subject.
 Eliminating all non-essential forms, features or concepts. It is characterized by
simplicity.

2. CUBISM.
An early-20th-century avant-garde art movement that revolutionized
European painting and sculpture, and inspired related movements
in music, literature and architecture.
In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—
instead of depicting objects from a single viewpoint, the artist depicts the subject from a
multitude of viewpoints to represent the subject in a greater context. Cubism has been
considered the most influential art movement of the 20th century.
The movement was pioneered by Pablo Picasso and Georges Braque.

3. SOCIAL REALISM.
It is the realistic depiction in art of contemporary life, as a means of social or political
comment.

4. FOUND OBJECTS.

A found object (a loan translation from the French objet trouvé), or found
art, is art created from undisguised, but often modified, items or products that are not
normally considered materials from which art is made, often because they already have
a non-art function. In modern art, the term "found object" (a translation of the French

103
 phrase "objet trouvé") is used to describe an object, found by an artist, which - with
minimal modification - is then presented as a work of art. The idea is, that the artist
believes that the discovered object possesses a certain aesthetic quality - stemming
from its appearance, social or personal history - and therefore displays it for the
appreciation of others.

Typical "found objects" include natural materials like sand (see Sand Art), earth,
stones, shells, curiously shaped pieces of wood, a human skull; or man-made items
such as newspaper cuttings, photographs, pieces of glass, fragments of scrap metal,
pieces of textile fabric, an unmade bed, a bicycle handlebars, and so on.
5. LARGE SCALE.

An artist may create an artwork that is much larger than it would be in real life in
order to create a visual impact. There are many artists who create artworks that utilize
scaled-up objects.
6. DIGITAL ART
An artistic work or practice that uses digital technology as part of the creative or
presentation process. Since the 1960s, various names have been used to describe the
process, including computer art and multimedia art. Digital art is itself placed under the
larger umbrella term new media art.
After some initial resistance, the impact of digital technology has transformed activities
such as painting, literature, drawing, sculpture and music/sound art, while new forms,
such as net art, digital installation art, and virtual reality, have become recognized
artistic practices. More generally the term digital art is used to describe an artist who
makes use of digital technologies in the production of art. In an expanded sense,
"digital art" is contemporary art that uses the methods of mass production or digital
media.
7. COLLAGE - technique where the artwork is made from assemblage of different forms
thus creating a whole.

Types of Collage
 Mosaic- a design which consist of small pieces of colored stone, glass, or other
materials.
 Digital Collage- form of graphic art that uses virtual imagery and textures from different
sources pieced and layered together.
 Photomontage - a combination of several photographs joined together for artistic effect
or to show more of the subject than can be shown in a single photograph.
8. DECOLLAGE - image is created by cutting, treating away, or removing pieces of an
original image.
9. GRAFFITI- are writing or drawings scribbled, scratched, or sprayed illicitly on a wall or
other surface in a public place.

104
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School ID: 408281
CPAA DRILL 12
Name: Date:
Parents Signature: Score:
MULTIPLE CHOICE.ENCIRCLE THE LETTER OF THE CORRECT ANSWER
1. Image is created by cutting, treating away, or removing pieces of an original image.
a. Decollage b. Graffiti c. Collage
2. Are writing or drawings scribbled, scratched, or sprayed illicitly on a wall or other
surface in a public place.
a. Decollage b. Graffiti c. Collage
3. A technique where the artwork is made from assemblage of different forms thus
creating a whole.
a. Decollage b. Graffiti c. Collage
4. It is an extreme form of abstract art developed in the USA in the 1960s and typified by
artworks composed of simple geometric shapes based on the square and the rectangle.
a. Minimalism b. Cubism c. Social Realism
5. Objects are analyzed, broken up and reassembled in an abstracted form—instead of
depicting objects from a single viewpoint, the artist depicts the subject from a
multitude of viewpoints to represent the subject in a greater context.
a. Minimalism b. Cubism c. Social Realism
6. It is the realistic depiction in art of contemporary life, as a means of social or political
comment.
a. Minimalism b. Cubism c. Social Realism
7. The idea is, that the artist believes that the discovered object possesses a certain aesthetic
quality - stemming from its appearance, social or personal history - and therefore displays it
for the appreciation of others.
a. Digital Art b. Found objects c. Large Scale
8. An artist may create an artwork that is much larger than it would be in real life in
order to create a visual impact. There are many artists who create artworks that utilize
scaled-up objects.
a. Digital Art b. Found objects c. Large Scale
9. An artistic work or practice that uses digital technology as part of the creative or
presentation process
a. Digital Art b. Found objects c. Large Scale
10. A design which consists of small pieces of colored stone, glass, or other materials.
a. Mosaic b. Digital Collage c. Photomontage

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Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA ASSIGNMENT 12
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1. In a short bond paper create your own COLLAGE.

CRITERIA: Creativity – 10 % Neatness – 5% Content – 5% TOTAL: 20%

106
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Government Recognition No:
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School ID: 408281

Subject: Contemporary Philippine Arts Across Regions

LESSON 13- Final Product Using Materials in Making Contemporary Art

The term “local” can refer to material that is easily available. The local can also
refer to wherever the artist finds himself or herself. The “local” is dynamic, fluid, and
constantly changing. It involves an integration of various media: dance, music, the
visual, digital, and electronic arts; of various geographies: local, transnational, national;
and of various spaces:
the “actual” as staged to the virtual as eternally documented or mediatized.
Here are some of the contemporary art works made noted by
local artists in Mindanao.

Ang Pag Ayag sa kinabuhi Og Kalibutan

Artist: Marcelino P. Necosia Jr.

Painting: Soil on canvas
Date made: October 2012

“Ang Pag Ayag sa kinabuhi Og Kalibutan” is an abstract

painting that talks about the reality of life the pessimist and the
optimisms view. The world according to this art must have control
and balance to preserve its beauty and its natural characteristics.
Katyapi
Artist: Marcelino P. Necosia Jr.
Musical instrument carved in wood
Date made: 2008
Katyapi is a Talaandig traditional guitar. The original is only two
strings; however, I modified this piece by adding two more strings.
It gives good relaxing music.

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 Unreachable
Artist: Quennie B. Misoles
Painting: Charcoal and latex on
canvas Date made: August 2014

“Unreachable” is about the one person from your past that you cannot get over but can
never obtain.

Hours Artist: Ada Salvado

Painting: Acrylic on canvas
Date made: May 2014

“Hours” is all about patience (or forbearing) is the

state of endurance under difficult circumstances, which
can mean persevering in the face of delay or provocation
without acting on annoyance/anger in a negative way; or
exhibiting forbearance when under strain, especially
when faced with longer-term difficulties. Patience is the
level of endurance one can take before negativity. It is
also used to refer to the character trait of being
steadfast. Antonyms include hastiness and
impetuousness.

Yab Man
Artist: Virgilio S. Billiones
Painting: Oilv on T'nalak

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 “Yab Man” is T’boli weavers in Lake Sebu,
South Cotabato traditionally weave a sacred cloth called the t’nalak, woven from abaca
fibers. They work on a design perceived through their dreams,
therefore acquiring their title Dream weavers.

Owong Omin Tilapia No Tahen

Artist: Orlando Langgong

Sculpture

“Owong Omin Tilapia No Tahen” is a sculpture of

a boat using wood, bamboo, and horse tail.

Success

Artist: Jay Mabilangan

carving on bamboo

“Success” is about a fight between 2 man from

different tribes.

Kgal Nesif Artist: Jocelyn Segundo Tony

Embroidery - Date made: 2001

“Kgal Nesif” is a blouse of the T'boli women which is richly decorated with varied
materials and techniques. It is decorated with beads and seashells.

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 Motorcycle Ride

Artist: Bryan Lee D. Celeste

Painting: Mix Media
Date made: February 2013

“Motorcycle Ride” was made because the

artist was inspired by Bukidnon a beautiful
place, and to explore the place it needs to
ride on a motorcycle in order to embrace
the experience.

Menstrual Period in Political

History

Artist: Danny C. Sillada

acrylic & metamorphic rock on
board

Date made: 5 April 2005

“Menstrual Period in Political History”,

which is a controversial mixed media artwork,
is a political satire on the cyclical political crisis
and corruption in the Philippine government.
The
vaginal form is carved on a metamorphic rock and painted with red, blue and yellow to
signify the Philippine flag.

110
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Government Recognition No:
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School ID: 408281
CPAA DRILL 13
Name: Date:
Parents Signature: Score:

RESEARCH
Do a research on Philippine contemporary artists introduced on the lesson. Pick one
(1) contemporary artist and make a biography about your chosen artist. A biography is
simply an account or detailed description about the life of a person. Use the guide
below to use for making the bibliography. The teacher will make rubrics for scoring.
1. Full name of the artist
2. Childhood & Education
3. Artworks made
4. Material/s used in making their artwork
5. Your impressions on the artwork

111
 Green Rose Center for Academe Inc.
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Government Recognition No:
PRE-ELEM: 04 S. 2017, ELEMENTARY: 5, S. 2017, JHS: 06, S.2017, SHS: 059 S.2018
School ID: 408281
CPAA ASSIGNMENT 13
Name: Date:
Parents Signature: Score:

REFLECTIVE PAINTING
Create one (1) painting using any material and any technique discussed
throughout the Contemporary Philippine Arts from the Regions subject. Give it a title.
After making a painting, make a reflective essay about it. You can use the some of the
questions below as guide.
1. What materials and techniques did you use to make your painting?
2. What is the title of your painting? Why did you use this title for your painting?
3. Did you have a hard time making your painting?
4. What did you want the audience to feel upon seeing your painting?
5. Personally, what can you say about your painting? Is it bad? Is it good?
6. If you could improve your artwork, what is it and why?

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