CPV CA 11_12 Q4 06 FD Contemporary Philippine Arts PDF

UNIT 6: Contemporary Art Techniques and Performance Practices Table of Contents Lesson 1: Materials in Contemporary Arts Focus Group Discussion 3 Learn about It! 4 Check Your Understanding 9 Lesson 2: Techniques in Contemporary Arts Focu...

UNIT 6: Contemporary Art Techniques and Performance Practices Table of Contents Lesson 1: Materials in Contemporary Arts Focus Group Discussion 3 Learn about It! 4 Check Your Understanding 9 Lesson 2: Techniques in Contemporary Arts Focus Group Discussion 11 Learn about It! 12 Check Your Understanding 22 Let’s Create! 23 Check and Reflect 25 Wrap Up 26 Answers to Check Your Understanding 27 Bibliography 28 Glossary 29 1 GRADE 11/12 |Contemporary Philippine Arts for the Regions UNIT 6 Contemporary Art Techniques and Performance Practices In the previous lessons, you have learned that contemporary art is distinct due to its historical and cultural implications. In addition, you learned that contemporary art is an integration of various art techniques. In this unit, you will learn how contemporary artists have developed techniques and performance practices that are unique to contemporary art. You will also discover how an artwork is identified not only by its existence in time but also by its relation to its place of origin. Learning Targets In this unit, you should be able to do the following: Research techniques and performance practices applied to contemporary arts. Identify local materials used in creating art. Critique available materials and appropriate techniques. Justify the use of materials and appropriate techniques. 2  Lesson 1: Materials in Contemporary Arts Mediums or materials are more than mere physical things that artists use to create art. They often serve as carriers of concepts and information from people and places, which the artwork’s viewers may interpret in practical and intuitive ways. Today, more and more artists are taking their innovations and new ideas to a higher platform to express themselves. Many Filipino artists are getting inspiration from their materials and cultural history, making their artwork frequently unexpected and thrilling. This lesson presents examples of contemporary Filipino visual and performing arts, which use various media and materials to convey ideas, evoke feelings, or tell stories. Some materials are unique, as artists demonstrate their talent and creativity by creating an artwork using materials easily found in the surroundings. Focus Group Discussion In groups with three to five members, think of a festival in the Philippines. It would be best if it is a festival in the hometown or locality of one of your members. Afterward, discuss the following questions: 1. What is the festival you picked and what is it about? 2. What are the common practices done during that festival? What are the reasons behind these practices? 3. What are the common materials (props, design tools, symbols, costumes, etc.) used during the festival? What are the reasons behind using these materials? After sharing ideas with your group, choose a representative to present in front of the class what you discussed as a group. 3  Learn about It! Artists typically use materials that are readily accessible to them. The tools present in the community are essential to an artist’s work. The term local may refer to widely accessible materials, such as certain types of wood or locally produced textiles. The term may also apply to the artist's current location. Diokno Pasilan is a neo-ethnic musician, visual artist, and former art director from Negros. He defined the term local as encompassing a variety of places after living for a long time in Palawan, Baguio, and Bicol, and recently in Victoria, Western Australia, where he immigrated. An important part of Pasilan’s art process is connecting with the people in his community and taking inspiration from their culture. For instance, Pasilan colored his skin green, the color of the environmental movement, to raise awareness for environmental consciousness in a production at the Third Bagasbas Beach International Eco-Arts Festival in Bicol. During the event, he launched himself onto gongs attached to a bamboo structure, as bamboo is readily accessible in the communities of Bagasbas. The communities in Bagasbas provided Pasilan and other involved artists with feedback and encouragement as they prepared their presentation and site-specific work on the Bagasbas shoreline. DNA was an art installation by Filipino-Chinese artist Dexter Sy in 2015. It was constructed using Good Morning towels, made of cotton with the text “good morning” printed in red. Filipino workers usually wear these towels hanging on one of their shoulders, ready to wipe their sweat. This artwork reflects Sy’s inspiration from his mixed heritage, since these towels are made in China and sold in the Philippines. In his art installation, the towels were strung from the ceiling and weaved with native Filipino linens to resemble the double helix strand of DNA, hence the name.  4 Sy is naturally proud of his Filipino-Chinese heritage because he spent a long time identifying with it. His usage of Chinese folk arts, symbols, and components is taken from traditional Chinese paintings and clothing, further showing his mixed ancestry. Fig. 1. Good Morning Towels.jpg - Wikimedia Commons Another exhibition that uses bamboo as a primary material is Digital Tagalog, a work created through the collaboration of Lani Maestro and Poklong Anading. These creators are known for constructing environments that engage the senses based on their study of the dynamics of environments and cultures. The Digital Tagalog exhibition was held at Mo Gallery in 2012. The exhibit features bamboo sticks that are stacked to fill a room. Then, they used several computers to play sound recordings inspired by indigenous Filipino music, many of which were influenced by and obtained from Jose Maceda's digitized music clips (archived inside the UP Center for Ethnomusicology). The exhibition was incredibly immersive because of its simultaneous use of graphic and instrumental elements. The artists encouraged viewers to participate and create soundtracks that they may listen to on their gadgets or play throughout the wider exhibition area. This wider location enabled them to layer sound from the bamboo sticks over digitized audio chosen by the disc jockeys working with the audio in a smaller room.  5 Physical objects, such as wood, are not the only mediums many artists have transformed; they have also reinvented other art forms, such as music and dance. One such artist is Agnes Locsin, a choreographer living in Davao, who redefined a part of Marinduque's Moriones Holy Week festival using contemporary dance styles. The Moriones tells the story of the Roman centurion Longinus’s conversion to Christianity. In the story, Longinus was tasked to guard the dying Jesus, but Jesus restored his eyesight, and this act led to his conversion. Locsin’s work conceptualizes the tale through costumes (where soldiers are seen lacking complete masks, heavy armor, and weapons) and movements that are different from the traditional depiction. It was presented as the Ballet Philippines' entry to the Rencontres Festival de Danse in France. Serra Pelada music by the avant-garde musician Philip Glass was used in the performance. Professional male ballet dancers performed with dramatically bent bodies, flat feet, distorted poses, and rhythmic combat motions to dramatize the soldiers' hunt for their fellow soldier who escaped. The dancers were trained to move and leap with one another as a unit at one point, then move away and dance individually at the next. The performance combined the familiar and unfamiliar with basic lighting and visual effects. The audience who saw the performance found certain parts familiar, like the scene of the chase, but at the same time, they still saw the tale from a fresh perspective. Artists have founded organizations such as Project Space and DiscLab, which support art creation, propagation, and delivery. Instead of entirely relying on the government and private corporations, these projects are primarily self-sufficient. Artists collaborate and interact with others to gather information, exchange ideas, and share materials. In such organizations, the idea of the artist working alone is no longer true. Artists are increasingly becoming more open to communicate with their viewers, who are now an integral part of the artistic process, particularly in immersive projects. Art has evolved through the years and with the advent of technology. Now, artists use technology in various ways to benefit their work. They utilize technology for more than just research; they also use it to exhibit their art and build and maintain relationships with their communities and audience through various social media platforms. It is also worth 6 mentioning that in the performances discussed, the transition from one place to the next plays a role in how art is received. From the public and private areas of Boac, Marinduque, to the stage in France and the Cultural Center of the Philippines, a transformation happens to the perception of art when the space it is in changes. For example, in the Digital Tagalog exhibition, there is a difference between when one listens to music on their own device and when one listens to it in a larger room and shares the experience with others. These changes in space and effects on art and its audience highlight the various possibilities and differences in how individuals experience and understand art. Another illustration of this fusion is when the term local refers to language, production, and technique and how they can be used to translate and modify media or art from other countries to be more relatable to Filipinos. One such example is Rody Vera’s Ang Post Office, an adaptation of a children’s play originally written by Indian writer Rabindranath Tagore titled The Post Office. The story is about a dying Indian boy who learns about the world through the people he interacts with in just one day. The adaptation was first staged at the Philippine Educational Theater Association (PETA) Center, then later restaged at The Xavier Stage (TXS), Xavier University in Cagayan de Oro. The local adaptation used distinctly Filipino elements, such as taho (a sweet snack made of fresh soft tofu) and peddlers selling sampaguita, to make the story relatable to the Filipino audience. Other changes included animation by Ellen Ramos, a native bamboo set, and music performed by the Kilyawan Children’s Choir, a mixture of Bengali and indigenous Filipino sound pegs. 7 Folk tales may have local elements as well. Consider the community theater group Aanak di Kabiligan’s (Children of the Mountains) performance of Fugtong: The Black Dog, which was made possible by the Cordillera Green Network. The play is based on a folk tale about a family that is ostracized for choosing to keep Fugtong, their black dog, which is thought to carry bad luck. The story could be interpreted as how others think of different people as threatening or dangerous. Another interesting way of looking at the story is that while it was introduced using a short English overview of the plot, the play was performed in several languages, as performers from Ifugao, Mt. Province, Kalinga, and Benguet spoke in Kalinga, Kankaney, Ilocano, and Ibaloi. This was done on purpose to maintain the story’s atmosphere in the Cordilleras. Rey Angelo Aurelio directed the production of Fugtong: The Black Dog. He is a theater artist who also directed Bakata: Battle of the Street Poets, a local community theater production featuring youth living in the Smokey Mountain as actors, dancers, and rappers, which was presented at the Tiu Theater in May 2015. Aurelio collaborates with disadvantaged young people who come from communities of informal settlers, have parents who are unemployed or underemployed, lack access to adequate healthcare, and have limited opportunities to continue their education, to name a few. One way for artists to be proactive is by working with young people from this background, by being immersed with the communities, and by helping the youth learn more by sharing their knowledge of the performing arts. Working with these youngsters and encouraging them to engage in creative expression do not resolve their complicated issues. However, it could aid in developing a stronger sense of self as they evaluate and convey their feelings and ideas. Remember that what has been discussed so far is performance art, which is presented live in front of an audience. In this kind of art, the audience’s perception and response to the artists’ work are greatly influenced by the connection they can create through their bodies and movement. The audience would experience elements of light, sound, and motion firsthand and give immediate reactions and feedback, such as cheers, claps, silence, transfixed gazes, and more. 8 To further illustrate how our senses affect how we interpret art, let us discuss Limen, a work of art produced by Lani Maestro in France in 2014. She gave considerable thought to the location’s history, how audiences would relate to it, and where the piece would be shown. The piece was in the Bataville compound, an area primarily used as an industrial site. Like in most mechanized factories, staff executed mundane and monotonous tasks. Because of this, Maestro planned to construct a bridge that seemingly transported people to a liminal point—the fringes of a garden. The bridge is faithful to its name Limen since the word refers to the point at which a psychological effect starts to be felt because it juxtaposes the industrial with the natural. The artist intended the piece to be in contrast with industrial space. The bridge was also constructed without walls or clear starting and end points so the guests would be drawn toward the greenery. People would also sit on the bridge without worrying about falling off because the base of it was close to the ground. Viewers of the piece still had the opportunity to experience Limen, even if they were unaware that it was intended to serve as a place where workers could relax. These kinds of artwork are more nuanced, and the meanings also depend on the viewers’ decision to interact with them. As a result, viewers can make the artwork a fuller and richer experience. Check Your Understanding Recall Fill in the blanks with the correct answer.  1. The term ____________ may be used to refer to readily accessible materials. 2. The fusion of ___________ activities, such as fiestas and online channels, exemplifies how the local and conventional can come together to produce ___________ and modes of expression and communication throughout local, international, and digital spaces. 9 Application Answer the following questions. 3. Why is Ang Post Office considered a contemporary artwork? 4. What was the message that Pasilan tried to communicate in his performance in the Third Bagasbas Beach International Eco-Arts Festival in Bicol? Synthesis Answer the following question. 5. In adapting foreign materials, why is it important to use local elements?  1 0 Lesson 2: Techniques in Contemporary Arts Every artist works with his or her own set of preferred mediums to create works of art. In this lesson, you will focus on an artist's selection of mediums and you will find out how these are at the core of creating artworks and how integral these are to the artist’s process. For example, artists use paints and canvas to make paintings, wood to create sculptures, sand to craft sand art, and cloth to form costumes, to name a few. The artist’s style and choice of mediums contribute to the artwork’s meaning and significance. These also significantly affect how viewers or audiences engage in or perceive the artwork. It is also worth remembering that in contemporary art, artists more freely exercise their creativity by deviating from conventions when using mediums. They are more explorative, creating new mediums, styles, and techniques that broaden the options and resources for other artists. Focus Group Discussion In groups with four to six members, discuss the possibility of creating a new art festival for your community. Answer the following questions to guide you in your discussion: What will the art festival be about? What mediums, techniques, and practices will the art festival use? Which places would you like to use as an exhibition site and other related activities? What are your considerations in making your selection? It may be in schools, the market grounds, a historic house, or a public park. Draw a map of your festival ideas and exhibition activity sites and present it in front of the class. 1 1 Learn about It! What is a medium? The material or thing that is used to create a work is referred to as the medium. Artists use these materials to articulate and convey their thoughts and emotions through art. The nature of the artwork is also determined by the medium used. A sculptor works with various materials including clay, metal, wood, stone, concrete, and glass. Sculptures are considered three-dimensional works since these take up space and have volume. Pottery is also regarded as a form of sculpture. Other examples of sculptures are the bulul wood carvings in the Cordillera, the carvings of saints in Christian churches, and Guillermo Tolentino’s The Oblation. Fig. 1. Ifugao sculpture Louvre 70-1999-4-1 by an unknown artist 1 2 Architecture is another type of art that is considered three-dimensional. Like sculptures, works of architecture take up space and have volume. However, architectural constructions are buildings where people live and are heavily influenced by time. The architect uses materials like wood, cement, stone, bricks, and bamboo for construction. In creating paintings, a painter uses various paints, such as acrylic, oil, watercolor, and ink. These paints are typically applied to a flat surface such as canvas, wood, paper, or even walls. The art of printmaking involves ink, which is applied or deposited on a surface using a tool that allows the printmaker to duplicate or reproduce a particular design. The tools used in printmaking include silk screens, wood blocks, and metal plates. Similar to paintings, prints are classified as two-dimensional art. Music is an art form produced using instruments and sound, including the human voice. Different types of music call for different instruments as well as different styles of singing. For example, a pop music singer sings differently than an opera singer or a T'boli chanter. Dance involves the use of a dancer’s body and movements. While music is often used to accompany dance, some dances do not need it. Dances may be performed to tell stories, but they can also express ideas that are not based on a story. 1 3  Fig. 2. Indak Boy Kadayawan Festival Theater is an art form that combines several types of media. For a well-executed theater production, elements such as set design, script, and stage direction should be cohesive to enable the dance, visual, musical, and other components to form an integrated whole. Both photography and filmmaking use a camera as their medium for creating art. With a video camera, a filmmaker can document and piece together various scenes that can be used to produce a movie. On the other hand, a photographer may use either an analog camera or a digital one. With digital photography, a computer may be used to view, enhance, and edit images, removing the need for negatives, photo papers or prints, and processing chemicals. 1 4  Fig. 3. Sections of a camera film drying on string and photographs pinned to a wall by Ron Lach Novelists, poets, and writers of fiction and nonfiction use words to produce works of literature. In design, performance art, and installation art, the artist works with a combination of the materials and tools mentioned earlier. In terms of the medium used, the arts can be categorized as practical, environmental, pictorial, auditory, literary, theatrical, and musical. Musical arts encompass songs, poetry (those with rhythm and involve song or dance), and dance. The practical arts are used and encountered in daily life, such as interior design, furniture, and architecture. Environmental arts, such as architecture, sculpture, and public art and installations, are typically heavily reliant on the surroundings or space on which they will be built and take inspiration from the materials already in the space. Pictorial arts encompass graphic arts, drawings, paintings,  1 5 and stage design. Arts that are performed or filmed for viewing by an audience are called dramatic arts. These include acting, theater, dance, and music. Works that tell stories, such as novels, fiction works, short stories, dramas, fiction and nonfiction works, and even some types of songs and dances, are considered narrative arts. As mentioned in the first unit, each type of art does not have to be independent of the other types. An artwork may be a mix of two or even more types of art, called combined art. Combined arts include performance art, theater, design, mixed media, film, photography, and art installations. One example of combined arts is a ritual. It may involve using a sculpture of a god, depending on what it is for. Participants are likely to perform dances and chants, wear certain clothes and accessories, and perform a ritual in a particular place specifically designed for it. In such instances, viewers are often encouraged to participate, becoming a part of the art instead of being merely onlookers. In contrast, the UP Chapel is, in itself, an artwork borne out of the collaboration of several artists. Architect Leandro Locsin designed the structure of the chapel, while Napoleon Abueva is the one who made the crucifix. On the floor of the chapel can be seen a mosaic, which is the work of Arturo Luz. Vicente Manansala and Ang Kiukok worked on the stations of the cross. The chapel also served as the venue for a performance by National Artist Jose Maceda in 1968. He created music that combined the use of instruments and native voices that sang a prayer in Tagalog. What is technique? Artists have their own set of mediums they feel comfortable working with, just as they have their own set of techniques for creating their art. Technique refers to an artist’s usage of materials in order to create art in a way that conveys the desired meaning following the artist’s style. The technique is determined by the unique style or essence of the material utilized. For 1 6 example, fabrics can be embroidered, inks can be blended to create new colors, clay can be molded, and strong chemicals can be used to cut through metals to create a design. Filipino artist and art professor Lito Mayo was a youthful, energetic artist who experimented and displayed his work in the vibrant hubs of modernist and contemporary galleries and art associations in Manila's Ermita district. One of his two known etching self-portraits is shown in Figure 5. The portrait is filled with mythical creatures, esoteric symbols, and incantations. Mount Banahaw in Dolores, Quezon is the most sacred mountain in the Tagalog region and where Mayo tested his agimat or talismans during the Lenten season. Fig. 4. Self Portrait by Lito Mayo Moreover, technique encompasses a wide range of tools and technology that vary from traditional, like carving, printmaking, analog photography, and filmmaking, to contemporary, such as digital photography, digital filmmaking, music production, industrial design, and robotics. For instance, National Artist Carlos “Botong” Francisco's mural, Filipino Struggles through History (1963), portrays Andres Bonifacio as the leader of the Philippine Revolution. Following the 1 7 modern expressionist style, it shows vigor and zeal through line and color. This art piece contrasts with the creation of another national artist, Guillermo Tolentino. His work, The Bonifacio Monument, used sculpture to give the effect of mass and volume. The sculpture helped him depict a lifelike scene of the moment when Bonifacio stood pensive before the scene of death. The portrait shows him exuding the poise and pride of a Neoclassical leader, even in the scene of death. How is art experienced and consumed? When art is experienced directly, it is considered to be an artifact. It can be spatial and static (e.g., a painting, a building, or a novel) or time-based and in motion (e.g., theater play or movable sculptures). An artwork is considered recorded or documented if it is experienced indirectly or through a medium. Some examples are performance documentaries, a photograph of a painting, a movie or music on DVDs or CDs, or a novel read on a tablet PC or a portable electronic reading device. If we receive a work of art in real-time, we refer to it as a time-based artifact or performance. Some of its examples are live performances and art installations. A time-based artifact is filmed and watched in real-time, but it is conducted away from the place from where the artifact is captured. Examples are recorded projects, shows, and advertisements commonly viewed through an online platform like a television or laptop screen. The works of an artist, such as the works of Filipino contemporary artist Pablo Biglang-Awa, can be experienced through the Internet. You can also gain creative inspiration from the work of the late conceptual artist Roberto Chabet, who helped give instructions on how to make a boat installation. Thanks to technology, these artworks can be virtually experienced. The instructions mentioned are made available through a video which can be found online. Similarly, another online video takes us to his installation project on simulations of sitting, lying down, walking, and sitting. Each video unreels animated images that give us an insight into the 1 8 finished work. Look for these videos online to experience these amazing works of art. Moreover, the work of Roberto Chabet was exhibited at the López Museum in 2012. In the Dime a Dozen exhibition at the López Museum in 2007, monitors were given as part of the art experience where the visitors could communicate with the national hero, Jose Rizal, via an account. They could add Rizal as a friend, send him a message, or upload a photo or video to his profile. The aim was to use a digital tool to make Jose Rizal more available and not daunting by using automated technology. In an art installation by Gerry Tan, a time-recording system was used to emphasize interactivity. Similar to a mechanical time clock used by employees, the visitors have to log their entry and exit times, which gives data on the duration they spend in the exhibition. How have contemporary artists expanded the range of mediums and techniques they utilize? The artworks of contemporary artists are more process-oriented, location-specific, interactive, and collaborative. An example is The Secret Garden 2 (2010) by Mark Salvatus. This artwork was specifically designed for a small room at the Vargas Museum. The location of the artwork adds value to the experience of the viewers. This artwork is interactive as it allows only a peek into the "secret garden." Essentially, the cooperation of the viewers is what makes the work a success. You can better understand art if you learn about its collaborative processes. In his home province in Quezon, South Luzon, Mark Salvatus worked with prisoners. The “secret garden” was created with plastic spoons, forks, and other objects the prisoners collected while secretly breaking the prison rules. In a way, the secret is held as the scene is not completely visible to the audience. Some people may find this unsatisfying, but it may be enlightening for others who can appreciate the novel and inspiring work created by the artist and the prisoners. In the early works of Ikoy Ricio, game interactivity was distinctly seen. One of his works was 1 9 several printed trump cards with pictures of car accidents in the Philippines. He presented them with statistical data on body count and other information. The trump cards were set on a table with matching chairs and invited the viewers to “play” the morbid game. It also made fun of the commercial adoration of speed and excessive material possessions. Maria Taniguchi is an artist from Dumaguete who lives and works in Manila. Her artwork, Untitled (Mirrors), uses a conventional acrylic style on canvas and an abstract contemporary style. It was considered a hallmark of the modern art of the twentieth century. Using these styles, she added a modern touch of form meditation to her artwork. The painting process is an imperative mode of creation and reception as it no longer remains only “pictorial.” It gives the idea that the artist carefully and patiently painted the canvas grid by grid. The painting and observing activities make the process similar to meditation. Maria Taniguchi’s work is a conceptual performance that can be site-specific, sculptural, and environmental. The artwork is a part of the Echo Studies installation at the Vargas Museum in 2011. The installation of the artwork is quite simple. It is a wall made up of a network of bricks only visible up close. Set up in the museum’s west wing, it creates a positive space in contrast to the entrance that leads to the next hall. It also interacts with the museum’s ambiance as a painting and a sculpture. In Waiting (2012), Felix Bacolor transformed an independent space at the Museum of Modern Art and Design into a simulacrum (a “false” depiction that is not necessarily ”original” but is replicated or recreated). It is set up as a transportation terminal’s waiting area with fixed metallic chairs and a digital clock that methodically records the passage of time. This installation allows the viewers to weave their stories of being trapped in a place of travel. It helps the audience feel connected to the atmosphere, dramatization, and narration by being interactive and site-specific. Modern art merges form and process. It links the fields of art and science as well as mediums and techniques. The art forms combine modern and conventional styles with electronic and digital techniques. For example, Ian Carlo Jaucian takes inspiration from science and links it with visual art by 2 0 creating different robotics-based works. One of his artworks, Liquid Robot, is activated by music. He used conventional techniques and mediums with computers and mechanics principles to create artworks that pose the question, “What is it to be human?” Anonymous Animals was an abstract creative work shown in the Mariyah Gallery at Dumaguete City in 2013. It was presented by Dumaguete-based artists who presented as excavators of exotic creatures shaped out of earthenware procured from surrounding areas. Cristina Taniguchi, Michael Teves, Danilo Sollesta, Mark Valenzuela, and Benjie Ranada were the artists who gathered scientific data, including the scientific and common animal names, taxonomy, morphology, and history of the animals they excavated. They displayed the terracotta animals they made as specimens along with the documentation from “an embedded journalist” made by the photographer Hersley Ven Casero. The curator, Flaudette May Datuin, wrote fictional stories about the artists in the form of a journal or field notes. Besides being a part of the exhibition, the project is also a performance and concept. It is inspired by the works of Joan Fontcuberta and Pere Formiguera and their book, Fauna (1999, Arte y Proyektos Editoriales, SL, Seville, Spain). Although Fauna is the book-form inspiration, Anonymous Animals is also virtually displayed on the website: http://anonymousanimals.wordpress.com/. Anonymous Animals spans the fields of art through terracotta sculpture, theater, fiction and photography, environmental and human research, and humanity. It is also a simulacrum—a “fake” real—that creates a highly realistic or hyperreal world that does not have an actual equivalent location. The work is narrative, theatrical, graphic, and natural, all at the same time. It blends different mediums and defies classification. The exhibition of unidentified terracotta animals is perceived as artifacts that can be logged and performed. The realistic virtual world that is also authoritative (a scientific term) gives meaning to the work that tests reality and various fields of study, such as archeology and biology. 2 1 Check Your Understanding Fill in the blanks with the correct answer. Recall 1. The _______ 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 The Oblation, ritual objects such as bulul wood carvings in the Cordillera, or the santo or  carvings of saints in Christian churches. 2. The ________ uses sound and instruments, including the human voice, while the dancer uses the body. A T’boli chanter sings creation stories in a way that is different from a classical singer or pop music singer influenced by the Western music scale. 3. The _______ 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. Answer the following questions. Application 4. What is the difference between mediums and techniques? Synthesis 5. How does the medium affect the message of the artwork? 2 2 Let’s Create! The class will be divided into groups with four to six members. Each group will ask a community elder or appropriate community members for stories regarding the traditions, mythologies, and early cultural practices in each of your locales. Present your findings in a creative and contemporary format. Some options for your outputs are the following: a video documentation a dramatization a photo essay in an electronic slideshow presentation or other similar format an illustrated storybook a dance performance a performed poem other media Each presentation must not be longer than seven minutes and must be presented in front of an audience. The following rubrics will be used as a basis for your grades. Traits 4 3 2 1 100-75 75-50 50-25 25-0 Creativity The presentation The The The and exhibits presentation presentation presentation Uniqueness exemplary exhibits exhibits does not creativity and creativity creativity, but exhibit novelty. and has it is not creativity and unique unique or has cliché or elements to it. novel. overused elements. 2 3 Quality of The presentation The The The Information features presentation presentation presentation information that is features features features relevant, information information information significantly that is that is that is informative, and relevant, relevant to irrelevant to thought-provoking. informative, the project the project, and of good and of common quality. satisfactory knowledge, quality. and is of poor quality. Audience The presentation The The The Engagemen keeps the presentation presentation presentation t audience engaged keeps the keeps the barely keeps throughout the audience audience the audience demonstration. engaged significantly engaged throughout wavering throughout most parts throughout the of the the demonstratio demonstration. demonstratio n. n. Overall The presentation The The The Presentation displays a clear, presentation presentation presentation high quality, and displays a displays an displays an well-prepared clear and of average unclear and demonstration. decent quality of poor quality demonstrati quality demonstrati on and calls demonstrati on with for on that calls some improvement. for room for major improvement. improvements. Total:_____  2 4 Comments and Remarks: Check and Reflect Check the box that best describes your skills. Skills I think I need I have a minimal I am confident more time and understanding of it. that I can do this assistance. with ease. I can define and identify local materials used in contemporary arts. I can justify the use of local materials in contemporary arts creation. I can name techniques and practices used in contemporary arts. Reflect 2 5 I find __________________________ the most interesting because ______________________. I got ____ checks because _______________________________________________________. I need to improve on _______________________because _____________________________. I need to practice _________________________ because _____________________________. I plan to _____________________________________________________________________. Wrap Up  2 6 Answers to Check Your Understanding Lesson 1: Materials in Contemporary Arts 1. local 2. old school and new ideas 3. The learners’ answers may vary. They must be able to explain why the play is considered a contemporary artwork. 4. The learners’ answers may vary. They must be able to explain the message that the artist  was trying to convey in the festival. 5. The learners’ answers may vary. They must know the importance of using local elements when adapting a foreign art material. Lesson 2: Techniques in Contemporary Arts 1. sculptor 2. musician 3. theater artist 4. The learner’s answers may vary. The learners must explain the difference between mediums and techniques. 5. The learner’s answers may vary. The learners must explain the effects of mediums to the message of the artwork. 2 7 Bibliography Cultural Center of the Philippines. 1994. CCP Encyclopedia of Philippine Art. Pasay City: Cultural Center of the Philippines. Datuin, Flaudette May, Roberto Paulino, Eileen Legaspi-Ramirez, and Louise Marcelino. 2016. Contemporary Philippine Arts from the Regions. Quezon City: REX Book Store. Datuin, Flaudette May, Brenda Fajardo, Patrick Flores, Alice Guillermo, Rosa Maria Icagasi, Regalado Jose, Elena Mirano, and Elenita Ordonez. 1997. Art and Society. Quezon City: University of the Philippines Press. Datuin, Flaudette. 2002. “Land; Locality; and Communication: The International Baguio Arts Festival.” PANANAW: Philippine Journal of Visual Arts 4, (2002): 34-40. Legaspi-Ramirez, Eileen. 2011. “For the Record: Agency and the Crafting of Discourse around Performance Art from the Philippines.” Unpublished M.A. thesis, Quezon City: University of the Philippines College of Arts and Letters. Mayo, Lito. n.d. “Self-Portrait.” Deviant Art. https://www.deviantart.com/i-am-michelangelo/art/Lito-Mayo-Self-Portrait-516170315 Tolentino, Roland. 1999. “Ang Palabas, Tanghal at Performatibo: Isang Teoretikal at Praktikal na Pananaw Pandula at Pang-araw-araw.” Ani 25, (1999): 91-99. Manila City: Cultural Center of the Philippines, Tiongson, Nicanor, ed. 1991. Tuklas Sining: Essays on Philippine Arts. Pasay City: Cultural Center of the Philippines. Photo Credits Good morning towels.jpg - Wikimedia Commons. “File:Good Morning Towels.Jpg - Wikimedia Commons,” May 29, 2014. https://commons.wikimedia.org/wiki/File:Good_morning_towels.jpg#file. 2 8 Ifugao sculpture Louvre 70-1999-4-1.jpg - Wikimedia Commons. “File:Ifugao Sculpture Louvre 70-1999-4-1.Jpg - Wikimedia Commons,” 2006. https://commons.wikimedia.org/wiki/File:Ifugao_sculpture_Louvre_70-1999-4-1.jpg. Indak Boy Kadayawan Festival 1.jpg - Wikimedia Commons. “File:Indak Boy Kadayawan Festival  1.Jpg - Wikimedia Commons,” August 17, 2019. https://commons.wikimedia.org/wiki/File:Indak_Boy_Kadayawan_Festival_1.jpg. Licence under Creative Commons Attribution-Share Alike 4.0 International. Lach, Ron. “Sections of Camera Film Drying on String and Photo Pictures Pinned to Wall.” Pexels, June 2021. https://www.pexels.com/photo/sections-of-camera-film-drying-on-string-and-photo-pict ures-pinned-to-wall-10273451/. SelfPortraitA.jpg - Wikimedia Commons. “File:SelfPortraitA.Jpg - Wikimedia Commons,” May 21, 2014. https://commons.wikimedia.org/wiki/File:SelfPortraitA.jpg. License under Creative Commons Attribution-Share Alike 3.0 Unported. Glossary artist initiatives – a number of collaborative and interdisciplinary research projects that bring together curators, conservators, art historians, and artists to test new approaches to the conservation, interpretation, and display of contemporary art dramatic – refers to something related to a drama auditory – something related to hearing or listening collaborative – the characterization or accomplishment by collaboration or teaming together environmental – refers to the circumstances, objects, or conditions by which one is surrounded 2 9 pictorial – relating to, or consisting of pictures found object – a natural or manufactured object that is perceived as being aesthetically satisfying and exhibited as such hyperreal – something marked by extraordinary vividness interactive – refers to acting one upon or with the other musical – refers to having the pleasing harmonious qualities of music narrative – the representation in art of an event or story ready-made – anything created in advance for sale to any buyer, rather than made to order site-specific – anything made, crafted, or chosen specifically for a given location spatial (static) – something related to bodies at rest or forces in equilibrium performance art – a form of collaborative art originating in the 1970s as a fusion of various artistic mediums including painting, film, video, music, drama, and dance, and deriving in part from the performance happenings in the 1960s practical –the process of actively engaging in some course of action or occupation record – to register permanently by mechanical means simulacrum – refers to a fake “real” or a fake “representation of reality” virtual – refers to being in essence or effect even if not truly recognized or admitted 3 0