Contemporary Arts in the Philippines PDF

UNIT 3:​ C ​ ontemporary Arts in the Philippines Table of Contents Introduction 2 Lesson 1: Contemporary Arts in the Philippines Jump Start 3 Le...

UNIT 3:​ C ​ ontemporary Arts in the Philippines Table of Contents Introduction 2 Lesson 1: Contemporary Arts in the Philippines Jump Start 3 Learn about It! 3 Check Your Understanding 15 Lesson 2: Research on Contemporary Arts in the Philippines Jump Start 16 Learn about It! 17 Check Your Understanding 24 Did You Know? 24 Let’s Create! 25 Check and Reflect 26 Wrap Up 28 Answers to Check Your Understanding 29 Bibliography 29 Glossary 30 1 C ​ opyright ​©​ 2018 Quipper Limited GRADE 11/12 |Contemporary Philippine Arts for the Regions UNIT 3 Contemporary Arts in the Philippines Have you ever wondered what exactly ​contemporary art ​means? This unit aims to shine a light on the different conditions that has inspired the production - or the context - of contemporary arts. Remember: context is not just background or backdrop; it is intricately weaved with many elements - the artist, society, environment, audience, and way of life. Art is shaped by and draws inspiration from the society and at the same time, art is honed by specific conditions that engendered its production. ​What do you think are the elements and specific conditions that constitute contemporary arts? ​Further, ​what do we mean by “contemporary” and how does it influence art? Learning Targets In this unit, you should be able to: define contemporary arts in the Philippines; research on various contemporary art forms. 2 C ​ opyright ​©​ 2018 Quipper Limited  Lesson 1: Contemporary Arts in the Philippines It is a common tendency to describe the present as “modern.” Being modern means being up to date and technologically advanced. Often, being modern is equated with being contemporary. Art that is new or current is also often referred to as “modern” as opposed to “traditional” or “conservative.” In other words, in everyday language, the terms are interchangeable. In this lesson, you will learn that the terms modern and contemporary refer to vastly different periods. Modern Art is not the same as Contemporary Art, although they could share some characteristics, sources, and influences. However, it is also possible to integrate and transform elements from Modern into Contemporary Art. Think-Pair-Share With a partner, discuss the distinct characteristics of your time; make sure to also consider the social, economic, and political conditions, and the culture of the people. After briefly sharing ideas, think: how could these characteristics and factors influence art? ​You may also discuss any new artwork you have encountered recently, and talk about how it embodies the the factors you discussed. ​ earn about It! L The first difference between the contemporary and modern is historical and chronological. The table suggested by Art Studies professors Fajardo and Flores titled “Historical Overview of the Philippine Art” ​(2002) below shows a summary of the periods of Philippine Art from Pre-Conquest to the Contemporary. Please take note that this table includes painting, sculpture, and architecture only. As you learn from in succeeding lessons, you can add on your own data on the other arts like music, dance, literature, and theater. 3 C ​ opyright ​©​ 2018 Quipper Limited  HISTORICAL OVERVIEW Form Pre-Conquest Spanish Period American Japanese Postwar 70s - Period Period Republic Contempor ary Painting Pottery, body Religious (icon Landscape, Wartime Modern, Figurative, adornment, and portraiture, scene conservativ non-figurati ornament ecclesiastical), genre, (aggression, e, abstract, ve, art for (Figure A) secular interior, still nationalism, experiment arts sake, (portraiture). life atrocities, al, public multimedia, (​Figure B) symbolic art mixed Sculpture Pottery, Santos, Free standing protest, media, carving and furniture, relief, public aspiration for transmedia woodwork, reliefs, altar peace) metalwork pieces, jewelry, and metalwork, Propaganda expression fiesta, (Figure C) ornamentation Indigenizing (Figure D) and orientalizing works, genre Architecture Dwellings and Church, plaza City planning Public works Real estate, safe housing, houses, complex, town parks, accessories, tenements, shelters, planning, waterfronts, informal settlers, worship areas, fortification, civic and convention arch, official civic buildings government commercial/business, residences, and structures, condominiums, malls, mosque, installations, public works, subdivisions, low cost masjid, state private apartments, housing edifices (​ Figure residences, residences, E) commercial offices, structures, health and cemeteries, public bridges, education, lighthouse business, chalet Fig. 1.1​. Historical Overview of Philippine Arts 4 C ​ opyright ​©​ 2018 Quipper Limited  ​ ​ Fig. A ​ ig. B F ​ ig. C F Fig. D Fig. E If we talk in terms of art history, Contemporary Art can be defined as art produced by artists living today. Fig. 1.2​. Xyza Bacani (2013) 5 C ​ opyright ​©​ 2018 Quipper Limited Figure 1.2 was taken around 2013, in Hong Kong, where the photographer​, Xyza Bacani​, who hails from Nueva Vizcaya, worked as a domestic helper, and is now based in New York on a scholarship. On her days off, she shot with her digicamera. Her first camera was brought from money loaned by her employer (for more information, visit www.xyzacruzbacani.com). HR Ocampo’s painting (Figure 1.3) was painted in the early 1960s. At that time, the painting was considered contemporary. Today, we refer to these works as examples of Modern Art, produced between the American colonial period to the Post-war period. Some modern artists continue to produce work till today. In that sense, their works can be described as contemporary, by virtue of being “of the present.” For example, the National Artist ​Arturo Luz continued to produce paintings in his 90s and well into the 21​st​. However, as seen in Figure 1.1 the table of “Historical Overview” his paintings’ hard-edged and minimalist abstract style is associated with the Modern style of the late 20​th century. The “contemporary” is therefore a fluid term, and its use can change depending on the contexts, in this case historical and stylistic. At times, the Modern and Contemporary can be used simultaneously or interchangeable; however, there is also danger of using them carelessly or loosely. Thus, it is important to know the historical, and stylistic contexts of the terms. F ​ ig. 1.3. T​ he Contrast ​by HR Ocampo ​ Fig. 1.4. ​Frugal Meal ​by Cesar Legaspi 6 C ​ opyright ​©​ 2018 Quipper Limited There are a number of artists - young and senior, alike - who paint in style associated with Modern Art. National Artist ​Victorio Edades is credited for initiating the Modern Art movement that challenged the Neoclassic style, which was dominant at the time he came home from studying in America before the war. The Neoclassic style depicts reality as closely as possible and idealizes it. The Modern artists led by Edades challenged what were described as “conservative” art seen in the works of National Artist ​Fernando Amorsolo ​and Guillermo Tolentino​. Modern artists do not aim to copy and idealize reality; instead they change the colors and flatten the picture instead of creating Illusions of depth, nearness, and farness. Instead of the beautiful and pastoral, they depict what might be thought of as “ugly” and unpleasant. At that time, Modern Art was considered new and shocking; Neoclassic Art was familiar and comfortable. Neoclassic Art is also described by art historians like Guillermo as “academic” along with other established styled imported from Europe via Spanish colonization. In its simplest sense, Neoclassism is “academic” as it was and continues to be taught in schools, particularly the then University of the Philippines School of Fine Arts (now UP College of Fine Arts), where Amorsolo and Tolentino were most influential. The School of Fine Arts is now the University of the Philippines College of Fine Arts, where students are being exposed to various styles. The Neoclassic style is associated with Amorsolo and Tolentino to continue to influence a number of practicing artists who have learned to paint in that style either formally as art students in various universities where Neoclassic style is included in the curriculum or informally through workshops and apprenticeships, or through self-learning or self-study, as in the case of many artist from the regions outside Manila. Today, Modern Art is referred to as “traditional,” as compared to Contemporary Art. Contemporary Art is the art of the present, which is continuously in process and in flux. What is contemporary today might become “academic” or “traditional” at some point. The styles of Modern Art for example for example are now part of art school curricula and have become academic. Thus, the distinction between Modern Art and Contemporary Art could also be a 7 C ​ opyright ​©​ 2018 Quipper Limited matter of perception and reception depending on the contexts, which will be discussed in detail. For now, it is important that we are aware of the distinction between Modern Art and Contemporary Art, their differences as well as similarities. What are the similarities and differences between Modern Art and Contemporary Art? ​Fig. 1.5. M ​ agpupukot b ​ y Carlos Francisco Fig. 1.6. ​Fishing Scene ​by Fernardo Amorsolo 8 C ​ opyright ​©​ 2018 Quipper Limited  Fig. 1.7. ​The Builders b ​ y Victorio Edades Figure 1.5 shows ​Carlos Francisco’s depiction of fishing as a difficult process, while Amorsolo’s rendition emphasizes calm and placidity. Like Francisco’s ​Magpupukot (1957), HR Ocampo’s ​The Contrast ​(1940) in Figure 1.3, ​Cesar Legaspi’s ​Frugal Meal ​(undated) in Figure 1.4, Edades’ The Builders (1928) in Figure 1.7 shows the oppressive condition of the underprivileged classes. Modern artists like ​Romeo Tabuena​, Hernando Ocampo​, Vicente Manansala​, ​Victor Oteyza​, Ramon Estella​, and Cesar Legaspi were actively participating the social conditions in the aftermath of World War II. Called Neo-realists by critic ​Aguilar Cruz​, these artists depicted society’s problems and challenged the Neoclassic rural-pastoral style associated with Amorsolo and Tolentino. The Social Realists of the seventies are considered heirs of the tradition. Fig. 1.8​. ​Filipina DH ​by Imelda Cajipe Endaya 9 C ​ opyright ​©​ 2018 Quipper Limited Social Realism continues to influence contemporary artists. For example, ​Imelda Cajipe-Endaya’s ​Filipina DH, 1995 ​is social realist, but the style and medium of the installation is markedly different. Refer to “The Stylistic Overview” table (Figure 1.9) for an idea of the difference in style of the difference in style and medium between Modern and Contemporary Art. STYLISTIC OVERVIEW Form Pre-Conquest Spanish Period American Japanese Period Postmodern/ Period Contemporary Painting Incipient triumvirate, 13 moderns, abstract, Collaborative, neorealist, hyper-realist, surreal, new painting Religious, expressionist Sculpture devotional, secular, formal, Classical, naturalistic nostalgic (homegrown, Religious (animist miniaturismo, Junk/scrap, or Islamic), guild), academic Abstract duchampian, arte Expressionism covera, community- neo-indigenous, based, site-specific inter-ethnic performance art, relations, hybrid collective history Architecture Worship-related Neoclassic,, art and residential, deco Juan Filipino earthquake, Arellano, Juan International, architecture, baroque, Nakpil, Pablo industrializing, urban planning, Hispanic Antonio, art eclectic economic zone, revivalist nouveau, neovernacular, (neogothic, California prefab, regionalist, neoromanesque Mission Style cosmopolitan , Islamic) Fig. 1.9​. Stylistic Overview of Philippine Arts 10 C ​ opyright ​©​ 2018 Quipper Limited  ​ Fig. F Fig. G Aside from style, it is also very useful to know where the artists are coming from and the circumstances of making and disseminating their art. With the table titled “Cultural Overview,” we can see that Contemporary Artists Bacani ​and Cajipe-Endaya belong to different contexts. The latter has been exhibited in galleries and museums, just like the Modern Artists, or Moderns, for short. Bacani, on the other hand, started exhibiting her works in Internet platforms like blogs and caught the attention of photographers. She soon became very popular in social, print, and broadcast media. Now that she is exhibited in museum and gallery space, her work has crossed over to the domain of the Fine Arts. CULTURAL OVERVIEW Form Indigenous Islamic or Folk or Fine or world-based Popular or urban Southeast Asian Philippine lowland and mass based (Figure H) Muslim Painting Ritual and governance (​ Figure I and J) Colonial and Museum-circulated, Mass produced, post-colonial artist centered, market oriented Sculpture (Figure K and L) gallery-distributed Architecture Fig. 1.10. ​Cultural Overview of Philippine Arts 11 C ​ opyright ​©​ 2018 Quipper Limited  ​ Fig. H Fig. I Fig. K Fig. J Fig. L 12 C ​ opyright ​©​ 2018 Quipper Limited Ibn Saud Salipyasin Ahmad ​from Zamboanga, Mindanao comes from a hybrid mixture of the local Subanen and traditional Maguindanao Muslim cultures. He is a contemporary artist but his cultural context is indigenous Southeast Asian and Philippine Muslim. His style can be considered “traditional” as it draws on the tradition and intricacy of drafting technique, which he learned in a trade school in Zamboanga. His medium is watercolor. His subject matter is the people of his locality. His depictions invite us to witness his culture and its traditions in the context of today’s changing times. What are the general characteristics of Contemporary Art? Although contemporary artists like ​Saudi Ahmad continue to use traditional media such as watercolor and oil on canvas, others like Cajipe-Endaya use mixed media. Some works are also site-specific, meaning they cannot be experienced in the same way if removed from their 13 C ​ opyright ​©​ 2018 Quipper Limited original places of exhibit whether in the gallery, out on the streets, in the forest, on the Internet, etc. They are generally process-based and integrate various mediums and art forms. For example, the band Sleepyheads integrate performance art, theatrically, and indie music in their gigs. Fig. 3.12. I​ li-Likha Artists Village, Kabunian De Guia, the Mighty Bhutens, Kidlat Tahimik, Baguio The filmmaker ​Kidlat Tahimik and his family perform their life as their art and vice versa, as evident in the art spaces in Baguio which have become associated with a mix performance, installation, architecture, and culinary arts. It is hard to separate the artist from his space of practice, and his lifework. However, the output is not his alone. The process is collaborative, and the experience is immersive and interactive, such that the art is never complete without the audience’s active input. A lot of contemporary art may be collaborative/participative, interactive and process-oriented, meaning that there is less emphasis on the finished product and a single “author” or creator. This is not always the case for other works, however. There is a wide range of strategies, media and techniques under the term “Contemporary Art.” There are works for example that 14 C ​ opyright ​©​ 2018 Quipper Limited are done alone by artists in their studios (such as Ahmad, for example) and are therefore not working in collaboration with others; there works that are too fragile for direct handling and are not exactly “interactive,” and so on, and there will be many examples in subsequent lessons that may or may not exhibit all of these characteristics evenly. Check Your Understanding Recall 1. The first difference between contemporary and modern art is _________ and _______. 2. Neoclassic Art is also described by art historians like Guillermo as “________” along with other established styled imported from ________ via Spanish colonization. Fill in the missing information below: CULTURAL OVERVIEW Form Indigenous Islamic or Fine or world-based Popular or urban Southeast Asian Philippine 3. ________ and mass based Muslim Painting 4. ________ and governance Colonial and Museum-circulated, Mass produced, post-colonial artist centered, 5. _______ Sculpture gallery-distributed Architecture Application 6. What are the similarities of Modern and Contemporary Art in the Philippines? 7. What are the differences of Modern and Contemporary Art in the Philippines? Synthesis 8. What are the general characteristics of Contemporary Art in the Philippines? 15 C ​ opyright ​©​ 2018 Quipper Limited  Lesson 2: Research on Contemporary Arts in the Philippines In this lesson, we will once again focus on connecting and situating an artform within the social, historical, and cultural milieu. Here, we will elevate the process of meaning making by turning away from the literal and surface appearance, and on to a deeper, and more complicated thematic plane. In this way, we grasp, not just the more complex meaning of the work, but also pinpoint some issues that makes us more aware and critical of those aspects of our culture that we need to transform. Focus Group Discussion Fig. 3.13. ​Tulad ng mga nauna, may paninindigan b ​ y Brenda Fajardo In groups of 3, discuss the following questions: What is the subject of the piece? 16 C ​ opyright ​©​ 2018 Quipper Limited  What is the theme of the piece? What do you think is the difference between the ​subject a ​ nd the t​ heme ​of an artwork? Learn about It! What is the difference between subject matter and theme? Subject in the arts refers to what they are all about. If there is an image, we identify that image and recognize how it is presented. The image may be representational or figurative, which means the image is drawn from the world around us. If it is abstract, non-representational or non-figurative, it does not have a recognizable subject, such as a tree, or object. Its subject is its form and elements - its texture, color, composition, shape or movement, among others. Themes are what connect subjects to their social milieu or its context. There are many ways to determine the theme of an artwork. At the most obvious and surface level, we note its initial data: Title Artist Medium Dimension And the year it was made Beyond these initial data are: Texts Images Allusions Symbols These data clue us in on the social and historical contexts referred to. It is at this level of symbolism and allegory that the thematic plane operates. 17 C ​ opyright ​©​ 2018 Quipper Limited In practice, it is difficult to separate subject matter and thematic plane. Subject matter answers the question “What do we see, hear, smell, taste or touch?” Using our senses is the initial step; this requires keen and diligent observation, not just of the image, but how it is presented and if there is no image, how the formal elements are deployed. Themes go beyond the literal, the data on the artwork and what we see at the surface level with our sense. We move on to making sense of the work within a larger context. Issues of power come into play, not just in the larger contexts, but in the artworld itself. The insights that we gain and the questions we ask will result from our own research and keen observation, but it may also be "colored" by our own lenses and points of view. Depending on many factors, these themes can also intersect since a single artwork can encompass and resonate with several themes, as the following discussion will show. Fig. 2.1​. The Rizal Monument 18 C ​ opyright ​©​ 2018 Quipper Limited Heroism and Identity One of the works of art that we need to focus on is the Rizal Monument and its form - medium, technique, and expressive elements. Its subject matter is obvious - Jose Rizal, our National Hero, which immediately clues us to the themes of national identity and heroism. However, aside from what we directly see and experience, we need to do a little research that can give us deeper insight on the way these big themes are defined and depicted. The Rizal National Monument in Luneta is the result of a national competition launched in 1905. The first prize was awarded to Italian Carlos Nicoli but due to the latter’s inability to comply with certain requirements, the commission was given to the second place winner the Swiss artist Richard Kissling. Numerous cities and municipalities in the Philippines and abroad have since replicated this design. Unveiled in 1913, the Rizal National Monument is a landmark monument cum mausoleum housing the remains of the hero. The monument depicts its subject as a standing figure, clutching a book perhaps symbolizing the importance that Rizal placed on education. He is shown clad, not in native clothing, but European overcoat. There are therefore many ways to portray Rizal, depending on the conditions of specific places and the preferences of the authorities who have the power to decide on details of the commission, which may or may not capture or reflect those of the community in that locality. There are thus many ways of interpreting heroism and national identity, and it is difficult to generalize our notions of what it is to be a hero, and what it is to be Filipino in a context where multiple and varied cultures reside. Instead of looking for one definition and description of identity, let us do our research and get to know our own communities. Perhaps the barong tagalog in other monuments signify this questioning. When we wish to deviate from his formal and static standing posture, and we make him sit down or write, or become more active, perhaps we also wish to imagine a more well-rounded and less formal hero - one we can more easily relate to. In fact, Rizal was many things in his lifetime: a sportsman, a doctor, a writer, a devoted son, and a lover. Perhaps we wish to view our heroes on a more human rather than lofty plane, even if it the nature of monuments to make them larger than life. 19 C ​ opyright ​©​ 2018 Quipper Limited Heroism and Ecology In Rizal's busts, monuments, and historical texts about him, there is a side to him that is deemphasized and largely unknown. As natural scientist, farmer, teacher, poet, sculptor, merchant, engineer, loving son, and patriot, Rizal was an environmentalist long before it became very urgent to become one amidst the cultural, moral, spiritual and environmental degradations of these troubled times. During his exile in Dapitan, Rizal bought a piece of land through the prize money he won in a lottery, planted trees, raised livestock and pets, and shared produce to his community. He engaged with farmers to market their products and with the help of the community, built a dam out of discarded roof tiles, gin bottles, and stones. He gave lessons to children imaginatively through art, anecdotes, poetry, and statues. He collected information on species he discovered, and sent information to scientific communities. As a result, he has species named after him: ​Draco rizali​, a flying lizard​; Rachophorus rizali​, a frog; and A ​ pogonio rizali​, a beetle. Such activities make us draw parallels with another kind of hero, this time a contemporary one—a botanist named Leonard Co, who also discovered a number of endemic plant species. The most famous species associated with him is the ​Rafflesia leonardi​, a parasitic plant named after him, which bears flowers and is among the largest species in the world. Rizal was shot dead in Luneta when he was 35. Leonard Co was 56 when he was slain in an alleged crossfire amidst the forests of Kanaga, Leyte, where he and his team were doing research for a project aimed at propagating endangered and indigenous trees in the area. Like Rizal, Co was a polymath, a man of many talents and intelligences. He was a dedicated 20 C ​ opyright ​©​ 2018 Quipper Limited botanist, musician, photographer, and poet. He spoke Mandarin, Filipino, and Latin; he was a comic whose performances soothed his team's weary minds whenever they were out on the field. The many people he touched testify to his passion, humility, simplicity, and unbelievable breadth of knowledge in Philippine botany. To our knowledge, there are very few, if at all, known artworks that touch on the subject of Rizal as environmentalist, let alone of another lesser known environmentalist-hero, Leonard Co. One possible exception features works not directly depicting the heroes' lives but a whole exhibit dedicated and held in their honor in 201 1, the 150th year of Rizal's birth. Amidst the many high profile events, a modest exhibit by Liongoren Gallery paid tribute to Rizal and Co by honoring eight male environmentalists whose contributions were interpreted through paintings and installations done by eight women artists, as part of an annual series of exhibitions entitled ​Walong Filipina​. 21 C ​ opyright ​©​ 2018 Quipper Limited  22 C ​ opyright ​©​ 2018 Quipper Limited Spirituality, Ecology and Everyday Life Rizal's monuments, with its many variations, are often placed at the center of the town plaza, a configuration inherited from Spanish colonizers, as we have learned from previous lessons. At the town plaza center are the Church, the municipal building, and the houses of elites. The Church usually has a kumbento or convent, generally housing a School, the parish priest's quarters and the office. In the sleepy town of Mahatao in Batan Island, a municipality that is 99% Roman Catholic, the 19th century built San Carlos Church is a heritage site, a multi-purpose place, and a physical hub that has played a key role in protecting the various historic structures and objects of the place. The kumbento, which leads to the office and quarters of the parish priest, is also a meeting place for local organizations, and because it has doorways that cut across the church, it is also a corridor and passageway to a shortcut. It is dark, barren, and empty at times, filled with people on the way to somewhere else at other times, or occasionally engaging with each other, and perhaps for others with a meditative bent, the space could serve as a transit point, where tired minds and hearts can rest and reflect. Drawing on and inspired by this character of the heritage site, the artist Jay Ticar constructed an archive composed of blank books arrayed on shelves that mimic the waves of the sea, and other objects that resonate with the surrounding environments. Passersby and users of the kumbento-turned-library can pick one of these books at random, on which they can record their thoughts and feelings through texts, drawings and actual objects. The simple gesture or mark in the pages of the books gather like dust on furniture left passive and unused for a long time. The artist hopes that the library gathers as much dust as possible, and becomes in the long term, a "meaningful collection of dust," as he puts it in his concept paper for a collaborative project of Asian Public Intellectuals (API) in 2009/2010. As part of the group who went to Batanes, one of the sites of the Asia-wide research involving the Philippines, Japan, Indonesia, Malaysia and Thailand, Ticar proposed this installation in response to the theme "Community-Based Initiatives Towards Ecological Balance." Aside from the blank books, Ticar brought two boats into the library. One of the boats was an abandoned tataya, the traditional wind-powered boat once owned by a fishers association. What was once a central livelihood object that still figures in traditional rituals and fishing practices became a nest for poultry and object of curiosity when it was 23 C ​ opyright ​©​ 2018 Quipper Limited abandoned. Another boat, a larger one, which presumably motorized, is a symbol of modernity's challenge to tradition. Before it became a found object in Ticar​i​s installation, it once belonged to a farmer/ butcher/policeman and jail warden who has under his custody fishermen-poachers from Taiwan and Vietnam. These boats, as the artist describes his project, "turned into the tables and chairs of the library. Bamboo poles (articulated like a fishing rod), carrying recycled floater turned light-bulb housing illuminate the boats. Still on the floor area, stones from the valugan or aplaya as we term it in Tagalog, or simply beach in English, boulders are used as stools. Hidden planks with wheels are installed under these stones in an attempt to have a floating feel particularly if they are being moved. These stones and boats are welcome to be rearranged and played with. Check Your Understanding Recall 1. Subject in the arts refers to what they are all _________. 2. Initial data are texts, images,__________ and symbols that clue us in to the social and historical contexts referred to. Application 3. What is one essential difference of subject from theme? 4. What is one essential difference of theme from subject? 24 C ​ opyright ​©​ 2018 Quipper Limited  Let’s Create! Divide the class into five groups, and assign each group one contemporary Filipino artist listed below: 1. Mideo Cruz 2. Ronald Ventura 3. Elmer Borlongan 4. Mark Salvatus 5. Manny Garibay Each group shall research on their assigned artist. Be sure to research the artist’s biography, journey as an artist, existing interviews, collection of work, and other significant information. As a group, ​identify the subjects and themes common to the artists work. ​Prepare a 10-15 minute presentation to share your findings with the class. The criteria below will be used to assess your presentation. 4 3 2 1 Traits: 100-75 75-50 50-25 25-0 The The The Barely any rigor Rigor and presentation presentation presentation in research was quality of exhibited exhibited exhibited the evident research significantly satisfactory rigor minimum rigorous in research required effort research in research Quality of The The The The information information presentation presentation presentation included was not discussed showcased high showcased showcased of quality and quality and quality and average quality was not 25 C ​ opyright ​©​ 2018 Quipper Limited  relevant relevant of information necessarily information information relevant to the presentation Audience Audience Audience Audience Audience was engagement remained remained engagement was barely, if at all, engaged all engaged significantly engaged throughout the throughout wavering throughout the presentation most parts of throughout the presentation the presentation presentation Overall The The The The presentation presentation presentation presentation presentation was clear, high was clear and of was of average was unclear, of quality, and decent quality quality and poor quality, and well-prepared with room for called for called for major for improvement improvement improvement Total:_____ Comments and Remarks: Check and Reflect I think I need more I have a minimal I am confident that I Skills understanding of it. can do this with ease. time and assistance. I can differentiate modern from contemporary arts. 26 C ​ opyright ​©​ 2018 Quipper Limited I can identify contemporary artworks. I can differentiate subject from theme. I can identify the subject of an artwork. I can identify the theme of an artwork. Reflect I find __________________________ the most interesting because ______________________. I got ____ checks because _______________________________________________________. I need to improve on _______________________because _____________________________. I need to practice _________________________ because _____________________________. I plan to _____________________________________________________________________. 27 C ​ opyright ​©​ 2018 Quipper Limited  Wrap Up 28 C ​ opyright ​©​ 2018 Quipper Limited  Answers to Check Your Understanding ​ ​ Lesson 1: C ​ ontemporary Arts in the Philippines 1. Historical, chronological 2. Academic, Europe 3. Folk 4. Ritual 5. Market oriented Lesson 2: R ​ esearch on Contemporary Arts in the Philippines 1. Application 2. Allusions Bibliography Datuin, Flaudette May, Roberto Paulino, Eileen Legaspi-Ramirez and Louise Marcelino. Contemporary Philippine Arts from the Regions. Manila: Rex Book Store, 2016. Datuin, Flaudette May, Brenda Fajardo, Patrick Flores, Alice Guillermo, Rosa Maria Icagasi, Regalado, Jose, Elena Mirano, Elenita Ordoñez and Norma Respicio. Art and Society. Quezon City: University of the Philippines Press, 1997. Datuin, Flaudette May. 2010. "For the Birds." The RiverProject. Ed. Binghui Huangfu. Campbeltown Arts Center, New South Wales, Australia, 2010. Guillermo, Alice. "The Text of Art." in Datuin, Flaudette May, et. al. Art and Society, University of the Philippines, 1997. Mangahas, Maria. "Fishing and Performing Fair Share." Aghamtao, Vol. Ill, 2001. _________. "Managing Luck and Negotiating Change: Ethnographics of Fishing and Sharing in the Philippines." PhD Dissertation in Social Anthropology, University of Cambridge, 2000. Paulino, Roberto G, “Mediated Emplacements of Rizal Memorials Overseas.” PhD Dissertation 29 C ​ opyright ​©​ 2018 Quipper Limited in Art Studies, University of the Philippines, 2013 Pulumbarit, Veronica. "10 little-known facts about Dr. Jose Rizal's life in Spain." GMA News Online. December 30, 2013. Accessed February 11, 2018. http://www.gmanetwork.com/news/news/pinoyabroad/341828/10-little-known-facts-about-dr -jose-rizal-s-life-in-spain/story/. Tiongson, Nicanor. CCP Encyclopedia of Philippine Arts. Pasay: Cultural Center of the Philippines, 1994. Tiongson, Nicanor. Tuklas Sining: Essays on Philippine Arts. Pasay: Cultural Center of the Philippines, 1991 Glossary Please provide a glossary for all the technical terms used in the unit listed in alphabetical order. Allegory ​- a symbolic representation Ecology ​- the overall relationship of organisms to its environment Indie music ​- short for independent music; music produced independently from major commercial labels Mixed media ​- a type of artwork where a variety of media is used in the process of creation Neo-Realism​ - an art movement that aims to revive traditions from the realism movement Postmodern -​ in art, it refers to the usage of complex forms, fantasies, allusions to traditional styles, and the general disregard for the emphasis on utility and formalism. Site specific​ - an artwork wherein the location is an essential part of the piece Social Realism​ - an art movement that aimed to capture social realities as a way of political commentary Symbolism ​- using symbols to represent ideas 30 C ​ opyright ​©​ 2018 Quipper Limited