Contemporary Philippine Arts in the Regions Study Guide PDF

Republic of the Philippines Department of Education REGION II – CAGAYAN VALLEY SCHOOLS DIVISION OF SANTIAGO CITY RIZAL NATIONAL HIGH SCHOOL...

Republic of the Philippines Department of Education REGION II – CAGAYAN VALLEY SCHOOLS DIVISION OF SANTIAGO CITY RIZAL NATIONAL HIGH SCHOOL RIZAL, SANTIAGO CONTEMPORARY PHILIPPINE ARTS IN THE REGIONS STUDY GUIDE The development of the Philippine Arts comes in THREE MAJOR TRADITIONS. ETHNIC TRADITION-before colonialization, the Philippines already has its indigenous era. Art forms are primarily influenced by the geographical location and experiences of the Filipinos. At this time, the purpose of art is integral to life. Arts reflected pagan beliefs and practices, everyday activities such as fishing and farming, and specific decorative patterns to the community. ANGONO PETROGLYPHS MANUNGGUL JAR MAITUM JAR The Angono Petroglyphs is situated Manunggul jar was foundin This small pot contains parts of in Binangonan Rizal. It was Manuggul Cave,Lipuun human bones, including phalanges discovered by the National Artist Point,Palawan. Manuggul jar is a and deciduous teeth, soil with Carlos “Botong” Francisco in 1965. burial jar which signifies the beliefs pebbles, and shells from land There are 127 human and animal of early Filipino in life after death. snails. Other Maitum finds indicate figures engraved on the rock wall that these ancient people were and dated back to circa late selective in the skeletal remains that Neolithic. they used for reburial. SPANISH COLONIAL TRADITIONS- art forms were primarily influenced by religion and secularization. At this time, Spaniards used arts to propagate the Catholic faith. LANGIT,LUPA, AT IMPYERNO by Josef Luciano Dans ST.PAUL METROPOLITAN This wall painting by Dans depicts the haven, St.Paul Metropolitan Cathedral, is located in Burgos, crucifixion of Christ; earth; Adan and Eve ; and hell, Vigan Cilty,Ilocos Sur. The cathedral follows a Baroque sinners with different transgressions. architectural design.  AMERICAN COLONIAL AND CONTEMPORARY ARTS TRADITIONS MODERN ART- refers to the practice of art from the CONTEMPORARY ARTS - refers to the practice of art 860s to 1960s. The main theme of artwork at this time from 1970- the present. Contemporary arts mirror is NATIONAL IDENTITY. contemporary culture and society. Diverse and emerging art practices were being introduced in this era. Cinco Marias by Federico Aguilar Alcuaz The Making of the Philippine Flag by Fernando Amorsolo This masterpiece of Alcuaz depicts the variety of This painting shows a reminder of traditions and domestic activities. customs of the Philippines. Art Installation in Sand Dunes of Paoay by Leeroy New Bayanihan by Carlos “Botong” Francisco Leeroy New is one of the Philippines Contemporary This mural shows the Filipino’s Bayanihan tradition. artist.this art installation of Leeroy New was made for This also shows the distinctive style of Francisco’s the La Milagrosa Festival in Ilocos Norte and this painting that showcased his mastery in arts. symbolizes the great festivals, feast, and celebrations.  PHILIPPINE ART plays a significant part in the rich cultural identity of the Philippines. It mirrors the Filipino people, its history, its tradition, and the country as a whole. Diverse art forms in the different parts of the archipelago, when integrated, will give a clear picture of what kind of country the Philippines is and what kind of people the Filipinos are. These art forms developed from the early times continue to evolve up to the present. From the ethnic tradition, it continues to progress to contemporary art tradition.  WHAT IS CONTEMPORARY ART? Refers to current and very recent practice of art. It also refers to works of art made by living artists. MORE ABOUT CONTEMPORARY ART Contemporary art generally refers to art being created now. Contemporary is derived from the Latin prefix con, which means “together” or “with”, plus tempus, which means “time”. The chronological view defines contemporary art as related to this current period in art history, and refers to art that is new, recent, modern, or pertains to the present moment.  Contemporary art emerged in the Philippines in reaction to social and cultural realities during the 1970’s which is an era of repression and censorship of artistic expressions. Philippine art became a means to oppose the regime, and the political art of social realism flourished at this time. Socio realism is an art movement which sought to expose the real condition of Philippine society and used art to transform it.  The end of Martial Law in the wake of EDSA People Power Revolution in 1986 brought the Philippines into the contemporary period, and the art produced in this period is regarded as contemporary art. Contemporary art as a Breaking of Norms - Contemporary art can be seen as a transgression of established norm and rules. Established art forms are scrutinized and contemporary art reworks them to see them with fresh eyes. Contemporary art is ruled by the cult of the new, endeavoring to create works of art that are “radical” and “interdisciplinary”. APPROPRIATION is an important preoccupation in contemporary art which is the practice of creating a new work by taking a pre-existing image or from another context and combining the borrowed image with new ones. Contemporary art and Local Heritage - Contemporary art professes an awareness of local heritage which is something that can be passed from one generation to the next, can be conserved or inherited, and has historic or cultural value. These are physical objects, places of heritage and the various practices of heritage unique to the region or locality that are conserved or handed down from one generation to the next. NATIONAL ARTIST OF THE PHILIPPINES  To be a National Artists is considered to be the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts and letter which is awarded by the National Commission for Culture and the Arts together with Cultural Center of the Philippines.  A National Artist is a Filipino citizen who has been given the rank and title of National Artist in recognition of his or her significant contributions to the development of Philippine arts and letters. WHEN WAS THE ORDER OF NATIONAL ARTISTS CREATED?  It was established by virtue of Presidential Proclamation No. 1001, s. 1972, which created the Award and Decoration of National Artist, “to give appropriate recognition and prestige to Filipinos who have distinguished themselves and made outstanding contributions to Philippine arts and letters,” and which posthumously conferred the award on the painter Fernando Amorsolo, who had died earlier that year.  The rank and title of National Artist is conferred by means of a Presidential Proclamation. It recognizes excellence in the fields of Music, Dance, Theater, Visual Arts, Literature, Film and Broadcast Arts, and Architecture or Allied Arts  Those who have been proclaimed National Artists are given a Grand Collar symbolizing their status.  THE GRAND COLLAR The insignia of the Order of the National Artists is composed of a Grand Collar featuring circular links portraying the arts, and an eight-pointed conventionalized sunburst suspended from a sampaguita wreath in green and white enamel. The central badge is a medallion divided into three equal portions, red, white, and blue, recalling the Philippine flag, with three stylized letter Ks—the “KKK” stands for the CCP’s motto: “katotohanan, kabutihan, at kagandahan” (“the true, the good, and the beautiful”), as coined by then first lady Mrs. Imelda Romualdez Marcos, the CCP’s founder. The composition of the Grand Collar is silver gilt bronze. In place of a rosette there is an enameled pin in the form of the insignia of the order. THE PROCESS OF BECOMING A NATIONAL ARTIST 1. Nomination 2. Screening and deliberation 3. Recommendation 4. Presidential Proclamation 5. Conferment NATIONAL ARTISTS IN THE PHILIPPINES AND THEIR SIGNIFICANT CONTRIBUTIONS TO THE DEVELOPMENT OF PHILIPPINE ARTS NATIONAL ARTIST SIGNIFICANT CONTRIBUTION The first National Artist FERNANDO AMORSOLO in the country.Amorsolo's masterpieces mostly featured idyllic rural landscapes and Filipina women , paintings He was known for using historical events as subject matter for his CARLOS “BOTONG” FRANCISCO murals. He was recognized as the Father of Modern Philippine Painting and was VICTOR C. EDADES known for using dark somber colors in his paintings. NAPOLEON ABUEVA He was considered to be the Father of Modern Philippine Sculpture.  He was known for utilizing and refining cubism, a style involving CESAR LEGASPI breaking parts into geometric shapes in his paintings. He was known for his marches including the “Triumphal March,” ANTONIO BUENAVENTURA “History Fantasy,” “Echoes from the Philippines,” and “Ode to Freedom. For over four decades, his contributions as a composer, arranger, music RYAN CAYABYAB director, conductor, performer, and educator have been huge. He is hailed as the "Father of Philippine Arts." He sculpted the University GUILLERMO TOLENTINO of the Philippines' most recognizable emblem, the UP Oblation, as well as the Bonifacio Monument in Caloocan City. He is more known as Fernando Poe, Jr. He is an icon in film industry as RONALD ALAN K. POE an actor, director, writer and produce. He is also known for using the leaf as a musical instrument which led to LEVI CELERIO being recognized as the "only man who could play music using a leaf" by the Guinness Book of Records. She was known as the Queen of Kundiman, and the first actress to HONORATA “ATANG” DELA RAMA portray a 15-year-old in the very first Tagalog film GAWAD SA MANLILIKHA NG BAYAN (GAMABA) Gawad sa Manlilikha ng Bayan (GAMABA) or the National Living Treasures Awards is given by the National Commission for Culture and the Arts (NCCA) to recognize Filipino artists who have practiced and preserved the customs, beliefs, rituals and traditions of the indigenous community where they belong. This recognition means that these artists have contributed significant art forms that are timeless amidst our fast-paced environment and multifaceted culture.  REPUBLIC ACT NO. 7355 - known as Manlilikha ng Bayan Act was established in 1992 to give recognition to traditional art uniquely Filipino who preserves and promotes its traditional folk arts that contribute to the national heritage.  National Commission for Culture and the Arts (NCCA) is the highest policy and coordinating body for culture and arts of the state. As Filipino who recognize the unique identities of our fellow Filipinos, it is the right to see their contribution to the community. The country is rich with various elements of tangible and intangible cultural heritage which has passed on the new generation. Culture as part of our Philippine identity includes a variety of arts that enhance by our National Living Treasure artists who are recognized in their special contribution to the national heritage. These are Filipino citizen who is engaged in any traditional art forms and has contributed to the development of cultural diversity and the creativity of humanity.  Awardee Contribution Region GAMABA Awardees for the year 1993 Surat Mangyan and Ambahan poetry Preserve the Hanunuo Mangyan script and Ambahan Panaytayan, Mansalay, Oriental (poem consisting of seven-syllable lines) and promote Mindoro, Region IV-B MIMAROPA it on every occasion so that the art will not be lost but preserved for posterity. Ginaw Bilog (d. 2003) Photo Courtesy of NCCA Epic Chanter and Storyteller An outstanding master of the basal (gong music), kulilal (highly lyrical poem) and bagit (instrumental Pala’wan, Palawan music played on the kusyapi), also played the aroding (mouth harp) and babarak (ring flute) and above all, Island, Region IV-B MIMAROPA he was a prolific and pre- eminent epic chanter and storyteller Masino Intaray (d. 2013) Photo Courtesy of NCCA Playing Kudyapi He achieved the highest level of excellence in the art Mamasapano, Maguidanao, of kutiyapi or kudyapi (two-stringed lute) playing and Western Midanao Bangsamoro also proficient in kulintang, agong (suspended Autonomous Region in Muslim bossed gong with wide rim), gandingan (bossed Mindanao (BARMM) gong with narrow rim), palendag (lip-valley flute), and tambul. Samaon Sulaiman (d. 2011) Photo Courtesy of NCCA GAMABA Awardees for the year 1998  T’nalak Weaving She is credited with preserving her people’s traditional T’nalak using abaca fibers as fine as hair whichtraditionally has three primary colors, T’boli/Lake Sebu, South red, black, and the original colors of abaca Cotabato, Mindanao, leave recreated by her nimble hands-the Region XII crocodiles, butterflies, and flowers. SOCCSKSARGEN Lang Dulay (d. 2015) Photo Courtesy of NCCA Inabal Weaving She was awarded for fully demonstrating the creative andexpressive aspects of the Bagobo abaca ikat (to tie or bond) weaving called inabal Tagabawa Bagobo/ (traditional textile of Bagobo) at a time when Bansalan, Davao del Sur, such art was threatened with extinction. Region XI Davao Region Salinta Monon(d. 2009) Photo Courtesy of NCCA GAMABA Awardees for the year 2000 Playing Yakan Instruments He referred to for his ability and mastery in playing different Yakan instruments (made of bamboo, wood, and metal) and for imparting his insight to the youngsters of his locale. He Yakan/ Lamitan, Basilan keeps on performing andinstruct despite his Island, diminishing visual perception, keeping the Bangsamoro Yakan melodic custom alive and thriving. Autonomous Region in Muslim Mindanao Uwang Ahadas (BARMM) Photo Courtesy of NCCA  Chanting the Sugidanon Epic of the Panay Bukidnon He continuously works for the documentation of the oral literature, in particular the epics, Sulod-Bukidnon/ of people. These ten epics, rendered in a Calinog, Iloilo, Panay language that, though related to Kiniray-a, is Island, no longer spoken. Region VI Western Visayas Federico Caballero Photo Courtesy of NCCA Playing Kalinga Musical Instruments His lifestyle work is to paint a portrait of his people to record a tradition of opposites and dualities, a peoples’ character recorded in Kalinga, Northern Luzon cadences each aggressive and gentle. Play Island, Kalinga musical instruments dance patterns Cordillera Administrative and moves related to rituals. Region (CAR) Alonzo Saclag Photo Courtesy of NCCA GAMABA Awardees for the year 2004 Mat weaving She was recognized as the master mat Ungos Matata, weaver. Her colorful mats with their complex Tandubas, Tawi-Tawi, geometric patterns showcased her precise Bangsamoro sense of design, proportion, and symmetry Autonomous Region in and sensitivity to color. Muslim Mindanao (BARMM) Hajja Amina Appi(d. 2013) Photo Courtesy of NCCA  Metal Plating He is an artist who has devoted his existence to developing religiousand secular artwork in silver, bronze, and wood. His intricately detailed retablos, mirrors, altars,and carosas are in church buildings and non- publiccollections. A range of these works are Apalit, Pampanga, Region III quite large, some exceeding forty feet, whilst Central Luzon some are very small and feature very nice Eduardo Mutuc and refined craftsmanship. Photo Courtesy of NCCA Pis syabit Weaving She remained devoted and persevered with her mission to teach the artwork of pis syabit Tausug/ Parang, weaving. Her strokes firm and sure, her color Sulu, sensitivity acute, and her dedication to the Bangsamoro best of her products unwavering. Autonomous Region in Muslim Mindanao (BARMM) Darhata Sawabi (d. 2005) Photo Courtesy of NCCA GAMABA Awardees for the year 2012 Abel Weaving (INABEL) She has been a master in abel weaving from Pinili, Ilocos Norte. She is not only weaving traditional Ilocano textiles but also designs new patterns. One of her designs employs a difficult weaving technique called pililian meaning partially. The weave produces a one of a kind design that takes after a string of flowers thus its name, inubon a sabong. She did not Pinili, Ilocos NorteRegion I formally study such traditional art. Instead, she Ilocos Region Magdalena watched closely as her aunt made and Gamayo imitated the patterns. Photo Courtesy of NCCA  Kattukong or Tabúngaw Hat Making When he finishes fieldwork as a farmer, he focuses on the cultivation and development of tabúngaw (Ilokano term for úpo). At the age of fifteen (15) he learned the art of Kattukong or San Quintin, Abra, Cordillera tabúngaw hat making and basket weaving AdministrativeRegion (CAR) from his grandfather. Teofilo Garcia Photo Courtesy of NCCA GAMABA Awardees for the year 2016 Yakan Weaving Apuh Ambalang, is significantly respected in all of Lamitan. Her ability is regarded unique: she can bring forth all designs and actualize all textile categories ordinary to the Yakan Lamitan, Basilan Island, community, who are known to be among the Bangsamoro Autonomous finest weavers within the Southern Region in Muslim Philippines. She can perform the suwah Mindanao (BARMM) bekkat (cross-stitch-like embellishment) and suwah pendan (embroidery-like embellishment) techniques of the bunga sama Ambalang Ausalin category. She has the complex knowledge of the whole weaving process, mindful at the Photo Courtesy of NCCA same time as the cultural significance of each textile design or category. B’laan Mat Weaving Since she was a child, she was bright and careful in tangle weaving. Her perseverance took place because of her supportive husband. The thin strips of the pandanus romblon (Pandanus copelandii merr. Bariu) rise matrixed through deft fingers performing Upper Lasang, Sapu Masla, an individual rhythm, the beat guided by her eyes. Malapatan, Saranggani The unwoven strips are held tight at the other end of Region XII SOCCSKSARGEN her body, as toes curl and close around, not only these strips but, as it were, the abstraction that other people call design. The arc of her torso determines Estelita Tumandan Bantilan the dexterity of feet and toes. Hand/eye coordination happens inside a frame of milliseconds. Photo Courtesy of NCCA  B’laan Ikat or Tie-dye Fabric Weaving Yabing Masalon Dulo, called as “Fu Yabing”, was only fourteen (14) years old when she started weaving. All her younger years were spent in sharpening her skills and imparting the knowledge to younger generations of B’laan weavers. Amguo, Landan, Polomolok, South Cotabato She follows her mother’s movements back and forth. Region XII SOCCSKSARGEN She colors the fibers, counts the thread, and observes the rhythmic dance of a weaver’s dreams Yabing Masalon Dulo woven Photo Courtesy of NCA into unique soulful pieces.