Contemporary Arts in the Philippines 2 PDF

SH1721 Contemporary Arts in the Philippines 2 I. Traditional Folk Arts A. Folk Architecture These are simple structures built of local materials and available tools to provide shelter for its inhabitants. 1. Bahay Kubo or Nipa Hut Also known as kamalig,...

SH1721 Contemporary Arts in the Philippines 2 I. Traditional Folk Arts A. Folk Architecture These are simple structures built of local materials and available tools to provide shelter for its inhabitants. 1. Bahay Kubo or Nipa Hut Also known as kamalig, it serves as an icon to Filipino lowland and rural culture. It is a stilt house with walls usually made up of bamboo rods and bamboo mats or sawali, and a thatched roof made up of anahaw or nipa. Source: http://house-garden.eu/house-pictures/Pictures-of-native-houses-in-the- philippines.html 3. Ivatan House in Batanes Most of the Ivatan houses are built with limestone walls, and cogon roofs, strong enough to withstand the typhoons and earthquakes that visit the province. It has narrow doors and windows with wooden shutters and often secured by wooden bars. Source: https://www.pinterest.com/pin/405886985138172193/ 2. Bale or Ifugao House It is a one-room house with an attic for storage. Located at the contour of the rice terraces, the exterior of the house looks like a pyramid resting on four posts, while the interior is enclosed by slanting walls and ceiling that appears to be spherical that are formed by the loft. Source: http://lagalag.ph/batanes/ 03 Handout 1 *Property of STI Page 1 of 12  SH1721 4. Torogan or Maranao House corals. Literally means “a place for sleeping,” torogan is a stately house for the elite members of the Maranao tribe in Mindanao. As the house of the datu or sultan, it is a symbol of status and leadership. It also serves as a courthouse, hall for community meetings, and its courtyard as ritual areas for weddings. Source: http://www.gettyimages.com/detail/news-photo/bajaus-houseboat-near-stilt- houses-news-photo/526990674#bajaus-houseboat-near-stilt-houses-picture-id526990674 B. Maritime Transports These are simple marine vessels made for the transport of goods and people by sea and other waterways in the surrounding regions. Source: http://historyofarchitecture.weebly.com/islamic1.html 1. Wooden Banca The outrigger canoe is a small wooden boat used 5. Badjao’s Stilt Houses and Houseboats for transport in daily activities by people near the Badjao, the sea gypsies of the Philippines, cruise coast. It is sometimes highly decorated. along the islands of Sulu. Their unique ecological setting and fishing economy compel the Badjao to adjust to the limited space of their lepa or floating homes. Strong platforms are made on both ends of the boat for the fish, kitchen utensils and fishing gadgets with the kitchen area usually found at the back. There are also Badjaos who prefer to live in stilt houses built out of driftwood and debris from the coastal cities around Southeast Asia. Its foundations are carefully placed in between coastal rocks and Source: http://www.travelphil.com/internet_eng/fotos/fotos_boracay.html 03 Handout 1 *Property of STI Page 2 of 12  SH1721 2. Vinta when mixed with abaca it is called “piña jusi.” It is a traditional boat made by Sama-Bajau (Badjao) and Moros living in the Sulu Archipelago, Zamboanga peninsula, and southern Mindanao. The assorted vertical colors in its sail represent the colorful culture of the Muslim community. These boats are used for inter-island transport of people and goods. Source: http://www.ecossar.com/ 2. T’nalak woven cloth Woven by the T’boli women of Lake Sebu, South Cotabato, Mindanao, it represents the tribe’s culture and tradition. According to them, the unique designs and patterns on the cloth are bestowed upon them through dreams. Source: https://plus.google.com/105581836857351130722/posts/CK1Bb1aY4Wm C. Weaving, Textile making, and Fabric Art Early Filipinos weaved using fibers from abaca, cotton, pineapple and, bark. Before the final garment or fabric is produced, the fibers were first knotted, boiled, dyed, and dried and weaved using hands and a wooden platform. This tedious process spans from a week up to months. 1. Piña fabric Piña weaving is the oldest industry of Aklan. Piña cloth is soft and looks delicate but it is durable and long-lasting. It is often used to our national costumes, the baro’t saya and barong. If the piña fiber is blended with silk, it is called “piña silk” and Source: http://www.ffwn.org/epahayagan/1359085 03 Handout 1 *Property of STI Page 3 of 12  SH1721 3. Tingkep baskets It serves both practical and spiritual purposes in the Pala’wan community life. It is used as a storage container for rice, salt, and personal belongings. It is also used to house the powerful female spirit Linamin et Kundu during a healing ritual called Kundu. It is handcrafted by the women from fine bamboo strips and made in natural colors. Source: http://www.rmp-nmr.org/campaigns/2013/09/22/support-indigenous-women- weavers 5. Yakan-weaved cloth Made by the Yakan tribe from Basilan, it features elaborate geometric designs and patterns that are inspired by nature. The fabrics produced by the weavers are used for religious and ritual purposes, bartered for daily necessities, given as gifts, and used for peace offerings in times of conflict. Source: http://www.cmcrafts.org/likhang-palawan 4. Hinabol Weaving is a happy activity for the Higaonon hinabol weavers of Bukidnon. Their ancestors have used abaca as a raw material for their clothing, footwear, blankets, and for their fishing gear. The production of textile was considered to be sacred to the tribe. The cloth reflects the moods and feelings of the weaver. It is woven as offering to the spirits and also given as a gift, as a dowry, and is used to bring peace during tribal conflicts. Source: http://zamboangasfinest.blogspot.com/2013/01/yakan-village-weaving- association.html 03 Handout 1 *Property of STI Page 4 of 12  SH1721 6. The Tapis of the Kalinga Tribe For them, weaving is a sacred tradition passed on from mother to daughter. The tapis is a costume indigenous to the Kalinga and Apayao. It is a rectangular cloth woman wear as a wraparound skirt. The garment was woven using a backstrap loom and was embroidered with nature-inspired patterns. Source: http://www.newsflash.org/2004/02/be/be004601.htm http://www.gmanetwork.com/news/news/photo/57800/stone-carving-in-maragondon-cavite/photo/ E. Performing Art These may be folk dances and music which are developed by an individual or groups of people that reflect their traditions and culture. Source: http://www.actaonline.org/blog_tags/1095 D. Carving From the northern part of the country down to the south, there is always a wood carving province that will amaze us. One of those is Paete in Laguna, the woodcarving capital of the Philippines. Wood is the common material that is widely used in the country. Other materials such as stone and metals such as silver and bronze are used in regions where there is an abundance of the mineral. Source: https://www.flickr.com/photos/18228804@N00/3280535377 F. Literature It refers to the traditional oral literature of various ethnic groups of the country. It includes the story of “Malakas at Maganda” and epics such as “Hudhud ni 03 Handout 1 *Property of STI Page 5 of 12  SH1721 Aliguyon,” “Darangan,” and the likes. 1. Manunggul Jar It is a secondary burial jar found in the early G. Graphic and Plastic Arts 1960’s in Manunggul Cave, Lippun Point, Palawan. Graphic arts are mainly two-dimensional (2D), like The upper portion of the jar is incised with sketching, painting, photography, and calligraphy. curvilinear scroll designs and painted with natural Plastic arts include sculpture or ceramics which have iron or hematite. On top of the lid is a boat with two three dimensions (3D). human figures representing two souls on a voyage to the afterlife. The boatman is seated behind a figure H. Ornament whose hands are crossed on the chest. The position It is used to embellish parts of a building or object. of the hands is a traditional Filipino practice The Ifugaos have carved Anito figures or Bulul which observed when arranging the corpse. represent their ancestral spirit and granary gods. The bulul is placed in the rice granaries to guard their harvest. On the other hand, the Kapampangans are famous in their parol, an iconic symbol of the Filipino Christmas. Source: http://sining101.weebly.com/aralin-2.html Sources: 2. Maitum Anthropomorphic Potteries http://wowbatangas.com/wp-content/uploads/2012/11/?C=M;O=A Earthenware pots resembling human figures http://www.metmuseum.org/art/collection/search/626371 I. Pottery were found in Ayub Cave in Pinol, Maitum, Native Filipinos created pottery since 3500 years Saranggani Province. The pots were dated to the ago. These potteries serve as a secondary burial jars to Metal Age (5 BC – 225 AD) and were used for hold the deceased. Some of these were decorated with secondary burial. There were 29 jars discovered and anthropomorphic designs. each of head-shaped covers portrays different kinds of expressions: sadness, joy, contentment. The heads were either plain or coated with red or black paints. 03 Handout 1 *Property of STI Page 6 of 12  SH1721 Some have earrings, others are tattooed. Some covers traditional folk artists and to see to it that their skills and depict teeth while others have arms, female breasts, crafts are preserved. The award is tied to a program that and male genitalia. ensures the transfer of their skills to new generations and the promotion of the craft both locally and internationally. A. Categories The Award shall be given in each, but not limited to the following categories of traditional folk arts, namely: folk architecture, maritime transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other artistic expressions of traditional culture. Consideration shall be given to geographical distribution and balance of artistic categories. B. Criteria for Selection (Source: ncca.gov.ph, 2015) To become a “Manlilikha ng Bayan,” the candidate Source: http://masterpieces.asemus.museum/masterpiece/detail.nhn?objectId=12399 must possess the following qualifications: II. Gawad sa Manlilikha ng Bayan (GAMABA) or National 1. He/she is an inhabitant of an Living Treasures Awards indigenous/traditional cultural community Institutionalized through R.A. No. 7355, GAMABA is anywhere in the Philippines that has preserved awarded to a citizen engaged in any traditional art uniquely indigenous customs, beliefs, rituals and, Filipino whose distinctive skills reached such a high level of traditions and/or has syncretized whatever technical and artistic excellence and have been passed on to external elements that have influenced it. and widely practiced by the present generation in his/her 2. He/she must have engaged in a folk art tradition community with the same degree of technical and artistic that has been in existence and documented for at competence. The National Commission for Culture and the least 50 years. Arts (NCCA) was tasked with the administration and 3. He/she must have consistently performed or implementation of the award. The NCCA, through the produced over a significant period, works of Gawad sa Manlilikha ng Bayan Committee, and an Ad Hoc superior and distinctive quality. Panel of Experts. 4. He/she must possess a mastery of tools and The main objective of the award is to honor and support materials needed by the art, and must have an established reputation in the art as master and 03 Handout 1 *Property of STI Page 7 of 12  SH1721 maker of works of extraordinary technical National Artists and funeral assistance/tribute fit quality. for a National Living Treasure. 5. He/she must have passed on and/or will pass on 2. The NCCA has also formulated “Guidelines on to other members of the community their skills in Inviting a GAMABA Awardee” which states the the folk art for which the community is honorarium and other benefits that an awardee traditionally known. should receive whenever he/she is invited to a A traditional artist who possesses all the qualities of private event. a Manlilikha ng Bayan candidate, but due to age or 3. Befitting their national status, the presence of infirmity has left him/her incapable of teaching further Gawad sa Manlilikha ng Bayan Awardees are his/her craft, may still be recognized if: required in the events under the institutional 1. He/she had created a significant body of works programs and projects of the NCCA such as the and/or has consistently displayed excellence in Philippine National Arts Month, the National the practice of his/her art, thus achieving Heritage Month, and other important national important contributions for its development. and regional cultural celebrations and similar 2. He/she has been instrumental in the revitalization future events. of his/her community’s artistic tradition. 3. He/she has passed on to the other members of the D. Manlilikha ng Bayan Awardees community skills in the folk art for which the (Source: ncca.gov.ph, 2015) community is traditionally known. 1. Ginaw Bilog (1993) 4. His/her community has recognized him/her as Poet, Hanunuo Mangyan master and teacher of his/her craft. Panaytayan, Oriental Mindoro Ginaw Bilog contributed in the preservation C. Honors and Privileges and promotion of ambahan – a poetic literary 1. An awardee receives a specially designed gold form composed of seven-syllable lines used to medallion, an initial grant of P100,000 and a convey messages through metaphors and images. P10,000 monthly stipend for life but according to R.A. No. 7355 “the monetary grant may be 2. Masino Intaray (1993) increased whenever circumstances so warrant.” Musician and Storyteller, Pala’wan The NCCA board approved an additional Brookes Point, Palawan monthly personal allowance of P14,000 for the Masino Intaray is a productive and leading awardees as well as a maximum cumulative epic chanter and storyteller recognized for his amount of P750,000 medical and hospitalization outstanding mastery of the musical instruments benefits annually similar to that received by the basal, kulilal, and bagit. 03 Handout 1 *Property of STI Page 8 of 12  SH1721 He has the creative memory, endurance, one special for the stories it tells. Using red and clarity of intellect and spiritual purpose that black dyes, she spins her stories with grace. Her enable him to chant all through the night, for textiles reflect the wisdom and the visions of her successive nights, countless tultul (epics), people. sudsungit (narratives), and tuturan (myths of Ironically modern designs get a better price origin and teachings of ancestors). than the traditional ones. Despite this, and the fact that those modern designs are easier to 3. Samaon Sulaiman (1993) weave, Lang persists in doing things the old, if Musician, Maguindanao harder, way, to give voice, in effect, to the songs Mamasapano, Maguindanao that were her elders’ before her. Her textiles are Samaon Sulaiman learned to play the kutyapi judged excellent because of the “fine even from his uncle when he was about 13 years old. quality of the yarn, the close interweaving of the At 35, he becomes the most acclaimed kutyapi warp and weft, the precision in the forms and master and teacher of his instrument in Libutan patterns, the chromatic integrity of the dye, and and other barangays of Maganoy town, deeply the consistency of the finish.” influencing the other acknowledged experts in kutyapi in the area, such as Esmael Ahmad, Bitul 5. Salinta Monon (1998) Sulaiman, Nguda Latip, Ali Ahmad and Tukal Textile Weaver, Tagabawa Bagobo Nanalon. Bansalan, Davao del Sur Aside from kutyapi, Samaon is also proficient As young as 12 years old, Salinta Monon in kulintang, agong (suspended bossed gong with presented herself to her mother, to be taught how wide rim), gandingan (bossed gong with narrow to weave herself. Her ardent desire to excel in the rim), palendag (lip-valley flute), and tambul. art of her ancestors enabled her to learn quickly. Samaon was a popular barber in his She developed a keen eye for the traditional community and serve as an Imam in the Libutan designs, and now, at the age of 65, she can mosque. identify the design as well as the author of a woven piece just by a glance. 4. Lang Dulay (1998) She has built a solid reputation for the quality Textile Weaver, T’boli of her work and the intricacies of her designs. Lake Sebu, South Cotabato There is a continuing demand for her fabrics. Lang Dulay knows a hundred designs, including the bulinglangit (clouds), the bankiring (hair bangs), and the kabangi (butterfly), each 03 Handout 1 *Property of STI Page 9 of 12  SH1721 6. Alonzo Saclag (2000) 7. Federico Caballero (2000) Musician and Dancer, Kalinga Epic Chanter, Sulod-Bukidnon Lubugan, Kalinga Calinog, Iloilo Alonzo Saclag is a Kalinga master of dance Federico ceaselessly works for the and the performing arts whose mission is to documentation of the oral literature particularly create and nurture a greater consciousness and the epics Labaw Dunggon, and Humadapnon. He appreciation of Kalinga culture among the tribe works with the Bureau of Nonformal Education, and beyond their borders. traveling from barangay to barangay, trying to He received no instruction, formal or convince the older folk of the necessity and otherwise, in the performing arts. Yet he has benefits of learning to read and write. He is mastered the Kalinga musical instruments and considered as a bantugan, a person who has dance patterns. He intends to pass his skill to attained distinction and he strives to dispense other members of the community, particularly justice in the community through his work as a the younger generation. Much of his energy is manughusay – an arbiter of conflicts. channeled towards different preservation efforts. He has for years urged the members of his 8. Uwang Ahadas (2000) community to preserve their artifacts and Musician, Yakan archaeological sites. While the unwritten laws Lamitan, Basilan and epics chronicle their victories as a people, Uwang Ahadas is a talented musician from their artifacts afford us a glimpse into their day- the Yakan tribe of Basilan. Instrumental music is to-day existence. One such artifact is the Kalinga significant to the Yakan because it is connected gong or the gangsa, the making of which is a both in their agricultural and social realm. He is disappearing trade. He has endeavored to revive a hands-on teacher to interested individuals who this dying craft. And to hold these and other wants to learn kwintangan, kayu, and tuntungan. treasures, he lobbied for two years with the provincial government to grant funds to convert 9. Darhata Sawabi (2004) the abandoned Capitol Building into a museum. Textile Weaver, Tausug His persistence was finally rewarded when, with Parang, Sulu support from the provincial government and Darhata Sawabi is a Tausug weaver of pis other patrons, the Lubuagan branch of the syabit – the traditional cloth tapestry worn as a National Museum was established. head cover. Sawabi remains faithful to the art of pis syabit weaving. Her strokes are firm and sure, her color 03 Handout 1 *Property of STI Page 10 of 12  SH1721 sensitivity acute, and her dedication to the quality 11. Haja Amina Appi (2004) of her products unwavering. She recognizes the Mat Weaver, Sama need for her to remain in the community and Tandubas, Tawi-Tawi continue with her mission to teach the art of pis She is recognized as a master mat weaver syabit weaving. She had, after all, already been among the Sama indigenous community for her teaching the young women of Parang how to unique designs, straightness of her edging or make a living from their woven fabrics. Some of tabig, and fineness of her sasa, and kima-kima. her students are already teachers themselves. She The whole process, from harvesting to looks forward to sharing the tradition of pis stripping down the pandan leaves to the actual syabit weaving to the younger generations execution of design, is exclusive to women. It is (Tobias, 2014). a long and tedious process which requires patience, stamina, eye for detail, unerring color 10. Eduardo Mutuc (2004) instinct, and a genius for applied mathematics. Metalsmith, Kapampangan Apalit, Pampanga 12. Teofilo Garcia (2012) He is an artist who has dedicated his life to Casque Maker, Ilocano creating religious and secular art in silver, San Quintin, Abra bronze, and wood. His intricately detailed A master artisan of gourd casques or retablos, mirrors, altars, and carosas are in kattukong - an all-weather traditional headgear churches and private collections. made of tabungaw or gourd. Teofilo takes pride According to him, craftsmanship begins with on his works by wearing it always. He is a respect for one’s tools and the medium. The first complete craftsman who executes all the phases thing he teaches his students is how to hold the of his craft production from the planting of his chisel and hammer properly to promote ease of raw materials to the finishing of the use and prevent fatigue and mistakes because of manufactured form. He makes his indigenous improper handling. He also cautions against tools. working with an eye towards easy money. The His kattukong exhibits the finest only way to improve one’s skills, he says, is to workmanship. The outer nito weave on the edges immerse oneself, learn the technique, and to as well as the inner lining of the casque is highly practice. Only in perfecting one’s craft can there refined and excellently crafted. The designs he be real reward (Tobias, 2014). uses show mastery of traditional form and his ability to creatively innovate from within the tradition. 03 Handout 1 *Property of STI Page 11 of 12  SH1721 13. Magdalena Gamayo (2012) Textile Weaver, Ilocano Pinili, Ilocos Norte A weaver of inabel, an Ilocano woven cloth, she exhibits her mastery and exceptional skill by producing abel which is finer than the others. Her blankets have a very high thread count and her designs are the most intricate and can sometimes take up to five (5) colors. References: Anthropomorphic Pots. (2014). Retrieved on July 31, 2017 from http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/ Pots.html. Briefer: Gawad sa Manlilikha ng Bayan. (n.d.). Retrieved on August 2, 2017 from http://www.officialgazette.gov.ph/briefer-gawad-sa-manlilikha-ng-bayan/. Manunggul Jar. (2014) Retrieved on July 31, 2016 from http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/ Manunggul.html. National Living Treasures Guidelines (2015). Retrieved from http://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/national- living-treasures-guidelines/ on July 25, 2017 Jacobson, J. (2015). 5 Architectural Secrets of the Badjao: 21st Century Sea People. Retrieved on July 26, 2017 from http://www.archdaily.com/638523/5- architectural-secrets-of-the-badjao-21st-century-sea-people. Panisan, W., Gazzingan, L., Samar, G., & Boongaling, C (2017). Contemporary Philippine Arts from the Regions.Malabon: Mutya Publishing House, Inc. Piccio, B. (2016). Aklan’s Piña Fabric: The Queen of Philippine Textiles. Retrieved from http://www.choosephilippines.com/specials/products/3943/aklans-pinya- cloth-jusi on July 27, 2017. Perez, A. (2016). Philippine Contemporary Arts. Quezon City: Brilliant Creations Publishing Inc. Ramirez, V. (2016). Contemporary Philippine Arts from the Regions. Quezon City: Vibal Group Inc. Traditional Filipino Houses (2016). Retrieved on July 26, 2017 from http://wanderingbakya.com/traditional-filipino-houses/ Typology of Traditional Ivatan Culture and Architecture. (n.d.). Retrieved on July 26, 2017 from http://www.batanes.gov.ph/traditional-ivan-shelter/. 03 Handout 1 *Property of STI Page 12 of 12