Learner'S Module Conphil: (Contemporary Philippine Arts From The Regions)

Wright Technological College of Antique
SENIOR HIGH SCHOOL

San Jose Branch
San Jose, Antique
LEARNER’S MODULE
CONPHIL
(Contemporary Philippine Arts from the Regions)
MS. SHARRY V. GERONA

Name of Instructor
FB Account: Sharry Gerona
Email Address: sharryv.gerona@gmail.com
Cellphone Number: 09755325567
First
Semester
2020 – 2021
School Year
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
INTRODUCTION
Contemporary Art has been viewed as an “anything and everything goes” period in the general
discussion of art by people outside the art world. There are nuances which are not usually tackled in
these discussions, thus it is only appreciated on the superficial level. In the Philippines, contemporary art
has been discussed on a deeper level only within the circles of art practitioners and critics, while the
public only gets to talk about art on level of “is it pretty? or “what do you feel when viewing of art
piece? or “what is the piece saying to you?” while the larger context of the piece is largely left out. The
regional examples of these movements in art have also been largely ignored, with majority of the
discussion only centered in Manila.
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San Jose Branch
San Jose, Antique
WEEK 1
CONTENT: COMBINATION OF DIFFERENT ART FORMS AS SEEN IN MODERN TIMES
MOST ESSENTIAL LEARNING: IDENTIFIES VARIOUS CONTEMPORARY ART FORMS AND
THEIR PRACTICES FROM THE VARIOUS REGIONS
ARTS is something that is created with the imagination and skill and that is beautiful or that expresses
important ideas or feelings. The expression or appreciation of human creative skill and imagination. Its
origin came from: a) Aryan root AR, meaning “ to put together” b) 2 Greek words, ARTIZEIN “to
prepare” & ARKISKEIN “ to put together” c) Latin terms ARS, ARTIS (everything that is artificially
made or composed by man.
CONTEMPORARY (a) existing or occurring at the present time. (b) Kontemporaneo (UP
Diksyonaryong Filipino): nabibilang o umiiral sa kasalukuyang panahon; sumusunod sa modernong
ideya o modang estilo o disenyo. (c) In vernacular English, it is synonymous with the word modern.
Contemporary Art generally refers to art being created now. It is the catch-all phrase ascribed to the art
of recent times and of today. “Contemporary” is derived from the Latin prefix con, which means
“together” or “with”, plus tempus, which means “time”. It is constantly changing and continuously
reinventing itself.
CONTEMPORARY ARTS Refers to the recent and current practice of art ranging from the 1970’s up
to the present. Mirrors society and culture of the present times. Uses a combination of different methods,
materials and ideas transcending the traditional way of art making today.
PHILIPPINE CONTEMPORARY ART Philippine art forms had a different twist as the American
way of life became part of lives of Filipinos. Art forms and practices broadened. Artists experimented
with different materials and methodologies and produced artworks with a wide range of themes.
Internet Source: https://www.coursehero.com/file/40788369/INTEGRATIVE-ART-AS-APPLIED-TO-
CONTEMPORARY-ART-Ethicpptx/
*DEVELOPMENT OF PHILIPPINE ART IN THREE MAJOR TRADITION*
Ethnic Tradition – Indigenous art of the Philippines. Primarily influenced by geographical locations
and experiences of Filipinos.
Dance (Pre-colonial time) Depend on the area where they live.
Highlands- steps imitate movements of animals.
Sea dwellers- choreography mimics movements of the sea.
Visual Art (Pre-colonial time) includes pottery, weaving, wood carving & metal crafts. Pre-dominant in
pre-colonial period make use of available materials surrounding them.
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Architecture (Pre-colonial time) Ancient Filipinos use local materials like anahaw, bamboo, cogon,
cane, rattan, and other light materials in constructing structures (materials that are accessible in their
area).
Literature (Pre-colonial time) they have folk speeches, songs and narratives.
Theater Arts (Pre-colonial time) tribal presentations and rituals that depict their beliefs.
Music (Pre-colonial time) indigenous musical instruments like bamboo flutes and brass gongs.
Spanish Colonial Tradition – Replaced indigenous art of the Philippines with Western art forms.
Religion & Secularization greatly influenced Philippine art. Friars supervised the practice of arts with
the agenda of propagating Christianity and maintaining power of the colonizers.
Literature classified into religious and secular prose and poetry.
Theater arts, “Komedya”, popular religious and secular play
Choreography, religious dances commonly performed to venerate patrons and saints. Valse, fandango,
polka and minuet, secular dances performed in social functions
Music. Spaniards introduced the ‘piano’ and other Western instruments. Zarzuelas and Operas, prevalent
bands and orchestras.
Visual Arts. Spaniards introduced paintings and sculpture, mostly depicted religious subject matters.
Architecture stones and bricks were pr edominantly used in constructing building like churches, houses
& government offices.
Despite strong influences of the Spaniards, the arts in the country did not result in a pure Western art but
a mix of Western and Indigenous art. Filipino Artists still put Filipino touches on their art pieces even
after 300 years of Spanish colonization.
American Colonial & Contemporary Tradition - Led to the declaration of independence on June 12,
1898. Brought about many changes in politics, economy, education and culture.
Education Filipinos went abroad to study under the tutelage of American educators, who learned
through observation and personal experiences. Came back carrying the concept of ‘modern art’
Modern Art refers to practice art in the 1860’s – 1960’s. Affected the way of art making through:
Urbanization, consumerism, rise of the middle class, change in political system, secularization,
emergence of new technology (gave rise to experimental approaches and ‘avant-garde’ expressions).
Continuously developed even after the WWII leading to the contemporary way of art making today.
Internet Source: https://www.scribd.com
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
Learning Activities
Direction: Write your answer in a one whole sheet of paper.
Activity: Identify various contemporary art form based on the region in the Philippines of your choice
(ex. visual arts, architecture, literature, theatre arts, dance, choreography, music etc.) and indicate in
what tradition of Philippine Arts do they belong, is it Ethnic Tradition, Spanish Colonial Tradition or
American Colonial & Contemporary Tradition?
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San Jose Branch
San Jose, Antique
***END***
WEEK 2
CONTENT: COMBINATION OF DIFFERENT FORM AS SEEN IN MODERN TIMES
MOST ESSENTIAL LEARNING: RESEARCHES ON VARIOUS CONTEMPORARY ART
FORMS, TECHNIQUES AND PERFORMANCE PRACTICES
Medium –Based Classification of Art Forms: In terms of form and medium, we can classify
contemporary art as:
a.Visual Arts – are works created primarily for visual perception. They are classified as according to
dimension such as:
Two-dimensional arts which refer to any artwork depicted on a flat surface, typically paintings,
sketches, mixed media, graphic arts, photographs or prints.
Three-dimensional arts which refer to work that has volume and mass such as sculpture, jewelry,
furniture, monument, assemblage, and fashion design.
b. Architecture – (religious, residential, industrial, commercial) Refers to man-made environment
created as a space for human habitation and as a setting for rituals. Architecture is more than just the art
and science of erecting buildings for it strives to create the ideal environment for any human activity.
Together with its sub-disciplines such as interior design, landscape architecture, and urban design,
architecture is collectively referred to as designed environment.
c. Music – is sound and silence organized based on time. The common elements of music are pitch
(which governs melody and harmony), rhythm (and its associated concepts of tempo, meter and
articulation), dynamics (loudness and softness), and the sonic qualities of timbre and texture (also
referred to as the “color” of a musical sound). At the formal level, music may be (folk, indigenous,
popular, conservatory, independent.
d. Dance – is an art form consisting of purposely selected sequences of human movement. This
movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers
within a particular culture. Dance can be categorized and described by its choreography, its repertoire of
movements, or its historical period or place of origin. Dance forms include ballet, folk, indigenous,
street, modern, hip-hop, or popular.
e. Theater – is a collaborative form of art that uses live performers to present something about the
human condition or an experience of a real or imagined event before a live audience in a specific place.
The performers may communicate this experience to the audience through combinations of gesture,
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acting, speech, song, music, and dance. It may take the form of street or protest theater, school plays,
ritual performance, sarsuela, puppetry, or stand-up comedy.
f. Photography – is the technique of capturing optical images on light-sensitive surfaces. Photography is
about framing a scene, composition and lighting, and recording that moment with the use of camera.
Photography can be classified into fine arts photography, photojournalism, and commercial
photography.
Fine art photography imbues photos with an artistic statement and selective vision of reality.
Photojournalism provides a documentary visual account of specific subjects and events, literally
re-presenting objective reality rather than the subjective intent of the photographer.
Commercial photography is focused on creating idealized images of products and service for the
purpose of advertising, including food and fashion photography.
g. Cinema – is aesthetic communication through the design of time and three-dimensional space into
two-dimensional images with sound. Film and video are essentially photographs shot in sequence to
give the illusion of movement. A film is a sequence of still photographs shot in rapid succession on a
strip film. When projected onto a screen, the progression of the still images gives an illusion of
movement. Older video recorded both image and sound on magnetic videotape, which was displayed on
television monitors. (mainstream, short film in feature, experimental, documentary, indie film)
h. Broadcast art - is the distribution of audio and/ or video content or other messages to a dispersed
audience via any electronic mass communications medium such as television, radio, and the internet. A
video camera converts a moving image into electronic signals. The signals are then transmitted to a
monitor, which decodes them and reconstitutes the image for display. (radio, television, video-8,
videoke, MTV, Youtube)
i. Digital art – is a comprehensive term for any manifestation of arts where a computer or digital
technology has been utilized in its creation. To be more precise, the art work must be generated in digital
form, which can be traced to mathematics and computer science and is placed under the larger category
of new media art. (pixilated designs, virtual reality, animation, game art)
j. Installation – is an art piece usually of mixed media (mixing of art materials and forms in creating an
artwork) that is organized for and placed in a specific space for a temporary period. Installation art is
designed to transform the perception of a space as it occupies an entire room or outdoor space in which
the spectator should walk through to engage fully with the work of art create a unified experience in the
given environment. (site-specific works)
Art Techniques
 Mixed media is a term used to describe artworks composed from a combination of different media or
materials. A work on canvas that combines paint, ink, and collage could properly be called a “mixed
media” work.
 New media art is a 21st Century catchall term used to define all that is related to the internet and the
interplay between technology, images and sound.
Watch:
Ballet Philippines’ Opera Tanghalang Pilipino (Mabining Mandirigma)

https://www.youtube.com/watch?v=S4sFtPEp21Q https://www.youtube.com/watch?v=cYar4IBNuXU
The Chescire Cat – Interactive projection Dance New Media Art Performing: “The Inheritance”
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Conceptual – focus on the idea, which can be either abstract or social

Social – current social and political topics are dealt with, often from critical perspective.
Expressive – both content and form is meaningful and communicative.
Popular Culture – issues aspects are dealt with, either by conceptualizing or criticizing.
LEARNING ACTIVITIES:
DIRECTION: Write your answer in a long size bond paper.
ACTIVITY: Look for art forms that can be found here in Antique and provide pictures.
Explain:
What is that art form?
Where did it came from?
***END***
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
WEEK 3
MOST ESSENTIAL LEARNING: DISCUSS THE IMPACT OF NEW TECHNOLOGY ON
CONTEMPORARY ART
Contemporary Art and the Information Age – contemporary art and its mode of production were a
product of a profound social change that happened in the 20 th century triggered by developments in
communication technology and the emergence of radio, television, and the internet. This social
transition, known as the “postmodern shift”, was ignited by a historical passage from the Industrial Age
(dominated by farming and manufacturing) to the Information Age (dominated by radical changes in
communication technology and the ways we receive and process information).
Even today we are still experiencing this revolutionary shift in the manner we exchange information
through electronic modes of communication, from broadcasting to texting, from Youtube to Facebook,
making this information available to greater numbers of people at greater speeds than ever before. This
information explosion is dominated by the visual form. Today, the public impact of visually-oriented
media is enormous; probably more information is now transmitted in this way than by the printed word,
altering the way we perceived art.
The Culture of the Information Age is image-oriented. Ideas are disseminated via screens – television,
computer, cellphone, or tablets – and received as images presented as pictures and logos, symbols and
signs. Visual Information is manipulated and processed by dozens of electronic processes such as
clipping, combining, filtering, distorting, mixing, and remixing.
Electronic processing and the rapid spread of images via television and the Internet have worked to blur
the distinctions between the different types of information in such a way that boundaries between
“popular” culture and “high” culture are broken.
The acquisition of familiar images from the past, and their incorporation into new works with new
meanings, are only facets of our era known as postmodernism.
The term postmodernism first appeared in reference to architecture. Postmodernism is an approach to art
that incorporates traditional elements and techniques while maintaining some characteristics of
contemporary art styles or movements. In a way postmodernism is about nostalgia that engages the
present- a recollection of the past in art for present –day consumption. Postmodern architecture was a
reaction to the plain glass boxes of the International Style. It incorporates decorative elements from the
past and takes advantage of the flexibility of new materials. The alliance of the Information Age and
Postmodernism of our time has created works of art that are new but strangely familiar, fleeting, plural –
reflecting the diversity and temperament of contemporary life.
In the last half-century, the visual arts have been overwhelmingly diverse in styles and techniques.
Collectively, they are characterized by an indebtedness to mass media and electronic technology, by an
emphasis on process and medium, and by postmodern parody and irony.
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High-tech materials- fiberglass, Plexiglas, stainless steel, neon, and polyester resin – have become as
commonplace in the art world of the last 50 years as marble clay, and oil paints were in the past.
Performance and environmental art reach out of the studio and into daily life. The mixed media
experiments of early Modernism have expanded to include film, video, television, and the computer.
Electronic media have revolutionized the visual arts of our time. Computer-manipulated photographs,
virtual reality, and mixed-media installations are among the unique projects of the Information Age. The
electronic synthesis of music, video, dance, and performance opens new kinds of theatrical experience,
some of which invite the participation of the audience. In the Information Age, the image, and especially
the moving image, has assumed a position of power over the printed word. In fact, the visual image has
come to compete-in value and in authority – with all other forms of cultural expression.
LEARNING ACTIVITY
DIRECTION: Write your answer in a one whole sheet of paper.
ACTIVITY: Write an essay consists of 300 words based on your observation on how technology help
and affects contemporary art nowadays.
***END***
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
WEEK 4
CONTENT: ELEMENTS AND PRINCIPLES OF ART
MOST ESSENTIAL LEARNING: ANALYZES CONTEMPORARY ART FORMS BASED ON
THE ELEMENTS AND PRINCIPLES.
Elements of Art
1.Color – a general term which applies to all combinations of color . Is an element consisting of hues, of
which there are three properties: hue, chroma or intensity, and value. Color is present when light strikes
an object and it is reflected back into the eye, a reaction to a hue arising in the optic nerve.
2. Form – is an artist’s way of using elements of art, principles of design, and media. Form as an element
of art is three-dimensional and encloses space. Like a shape, a form has length and width, but it also has
depth. Forms are either geometric or free-form.
3. Line – is an identifiable path created by a point moving in space. It is one-dimensional and can vary in
width, direction, and length. Line often define the edges of a form and can be horizontal, vertical, or
diagonal, straight or curved, thick or thin.
4. Shape – is a flat, enclosed area of an artwork created through lines, textures, colors or an are enclosed
by other shapes such as triangles, circles, and squares.
5. Space – a boundless three-dimensional extent in which objects and events occur and have relative
position and direction.
6. Texture – is the perceived surface quality of a work of art. It is an element of two-dimensional and
three-dimensional designs and is distinguished by its perceived visual and physical properties.
7. Value – is essentially how light or dark something is on a scale of white to black. It is widely
considered to be one of the most important variables to the success of a painting, even more so than your
selection of color.
Principles of Art
1.Balance – refers to the use of artistic elements such as line, texture, color, and form in the creation of
artworks in a way that renders visual stability.
2. Emphasis – refers to the use of visual elements to draw attention to a certain area, usually a focal
point. It involves contrasting different elements against each other.
3. Harmony – is the visual satisfying effect of combining similar, related elements.
4. Movement – is a tendency or style in an art with a specific common philosophy or goal, followed by a
group of artists during a specific period of time, or, at least with the heyday of the movement defined
within a number of years.
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5. Pattern – is a repetition of specific visual elements, an arrangement of repeated or corresponding

parts, decorative motifs.
6. Proportion – refers to relative size. Is largely about the relationship of the size of one element when
compared to another.
7. Repetition – is the use of two or more like elements or forms within a composition. The systematic
arrangement of a repeated shapes or forms creates pattern.
8. Rhythm – refers to the arrangement of shapes in a way which creates an underlying beat.
9. Unity – refers to a set of compositional strategies used by an artists to make the parts of a painting or
another work of art hang together as a whole through visual relatedness.
10. Variety – adds interest to an artwork. Variety works through juxtaposition and contrast.
DIRECTION: In a long size bond paper
ACTIVITIES:
A.Make a COLOR WHEEL
 For you what is the meaning of each color found in a color wheel?
 Explain what is the use of color (in your own words)
B. Make a DOT DESIGN
 Use only two colors per design (keep it simple)
 Dots must be round and colored solid
 Dots within each design should vary in size (change can be sudden or gradual but is
important for providing contrast, thereby avoiding “chicken tracking”)
 Dots may “follow the leader”, touch, overlap, stack on top of each other, run off the edge of
the paper, etc.
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
***END***
WEEK 5
MOST ESSENTIAL LEARNING: RELATES THE SIGNIFICANCE OF ART FORMS FROM THE
REGIONS
Contemporary Philippine Visual Arts
In the Philippines, contemporary art practice consists of living traditions and studio arts. Living
traditions/traditional arts refer to the crafting of material arts that are passed on from one generation to
the next within the context of daily life in the community. There is an emphasis on collective cultural
meaning and perfection of the craft. Studio arts refer to the production of visual arts which consists of
painting, sculpture, graphic and plastic arts. Emphasis is on individual meaning, artistic, originality, and
uniqueness of expression.
Our country has a wealth of traditional indigenous art practices, mostly found in pockets of threatened
communities affected by developmental encroachment such as deforestation and large-scale mining. To
simplify our task of identifying them, we will focus on forms done within established schools of living
traditions identified supported by:
National Commission for Culture and the Arts (NCCA) – official government agency of culture in
the Philippines.
Gawad sa Manlilikha ng Bayan (GAMABA)- (The National Living Treasures Award) is conferred to
a person or group of artists recognized by the Government of the Philippines for their contributions to
the country’s intangible cultural heritage.
Start with the National Capital Region where artists from all over the archipelago come together and
bring out the best of where they originate from.
*National Capital Region
Neo-realism, neo-realism in painting was a legacy of Victorio Edades. It was influenced by western
cubism where objects are analysed and broken down into geometric structures and shapes viewed from a
multiplicity of angles. The neo-realist school developed in the 50’s as a distinct way of rendering
characters in and aspects of Philippine daily life such as
fishermen, jeepneys, calesas, boats, fisher-folk, church
devotees, vendors, and shoppers in flat shapes, patterns, or
stylized forms. National artist Vicente Manansala & Cesar
Legaspi brought neo-realism to its finest peak.
Manansala refined the method called transparent cubism.
Legaspi imbued it with human tension and dynamic
movement.
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The style fully flourished from the 60’s until the 90’s in the canvases of Hugo Yonzon, Ang Kiukok,
Manansala Transparent Cubism
Mauro “Malang” Santos and Manuel Baldemor. https://www.widewalls.ch/artists/vicent
e-manansala
Variations of neo realism are found in the distinct style of Angelito Antonio who distorts his figures into
black and white or monochromatic shapes with linear clarity, then blurring adjacent areas into washed-
out tones. The styles of Antonio Austria and Norma Belleza use the boldest contrasts of intense
orange, green, red, and blue to imbue a festive mood to the stubby male and female forms that are
rendered in charming naivete.
Neo-realism in sculpture was pioneered by National Artist Napoleon Abueva. But Eduardo Catrillo
became prolific at in his sculpture and monuments of embossed copper and welded brass. He simplifies
reality into planes. At times, he multiplies them into resonating masses. He explains that this aesthetic,
both a neo-realist and a cubist tendency, is essentially the resolution of conflict between representation
and structure.
Photorealism or Hyperrealism - when painting s rendered in a meticulously realistic style with
accurate details looking like a photograph. Nestor Leynes, Ger Viterbo, Jaime Roque, Joselito
Barcelona & Agustin Goy are the esteemed photorealists in the 70’s, painting ordinary scenes of daily
life in faithful accuracy.
Hyperrealism as a technique becomes magical realism if unreal or imaginary elements are focused on
their physical presence in the actual material world. Surrealism often uses hyperrealist technique, but
deals with the psychological subconscious reality such as irrationality in dreams and hallucinations,
although some surrealists do not employ photorealist techniques.
Social Realism – Art critic Alice G. Guillermo uses the term “social realism” to refer to the painterly
practice of activist-artists beginning in the 70’s led by Pablo Baen Santos, Orlando Castillo, Papo de
Asis, Jose Cuaresma, Neil Doloricon, Edgar Talusan Fernandez, Renato Habulan, Al Manrique &
Jose Tence Ruiz. They were part of an ideological struggle against exploitive forces of US imperialism
and its puppet agents in the Philippines. Social realism emphasizes that the subject matter should show a
keen awareness of conflict arising from the oppressive conditions and events of the time.
Abstract Art – may be pure beauty; a reason for its own being. Can also be derived from a recognizable
object, thus it can be expressive. Or it can be suggestive of an idea, and can be metaphor or symbol. The
linear, hard-edge paintings and sculptures of Arturo Luz bring out precision of lines and perfection of
form without having to represent any meaning or story behind it. Another examples: Romulo Olazo’s
Diaphanous series where he layered shapes, one on top of another, in various tints and shades to achieve
patterns of rich transparencies. Rodulfo Samonte’s opaque structures of thick impastos result in
rhythmic hard edge forms that break into deckled borders and torn corners. Ben Maramag uses aerosol
paint to create colourful constructions, mixing hard edge with soft edge surprises.
Conceptual Art Movement – Roberto Chabet is recognized the Father of Philippine Conceptual Art.
His work is all about playful, endless experimentation. He said that “art is all about the idea. Form,
taking many shapes and sizes, only supports the idea, which is not confined to one specific explanation,
but a wide horizon of possibilities.” The preceding description of attitudes, outlook, and preference for
precise constructions apply to younger conceptual artists he mentored, namely Gerardo Tan, Trek
Valdizno, Nilo Ilarde, & Ringo Bunoan. Artists who developed independently from Chabet’s
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influence are Sid Hildawa, Christina Quisumbing Ramilo, Claro Ramirez, Eric Zamuco, &
Poklong Anading.
*Luzon, up to 108 schools of living traditions in northern and eastern Luzon were supported by the
NCCA in 2014. Culture teaching centers were built there are living culture masters in Cordillera Region,
Nueva Vizcaya, Ilocos Region, Zambales, Bataan, baler and Aurora. Traditions that were revived and
taught include pottery, basket weaving, textile weaving, attire making, playing musical instruments,
dance, indigenous architecture, chanting of oral literature, and life rituals.
“Binakul” as Ancestral Contemporary National Motif - Binakul (twill in Ilocano) is the common term
for the blanket design recognizable by abstract patterns which create an optical illusion. Is a retinal
illusion design on blankets common among Ilocanos and Tinguians from Abra.
Traditional Cordilleran “Bulul”, Culture of Ancestors in Contemporary Art – the bulul is a figure
representing ancestors who guard both rice agriculture from seed to granary, as well as the health of
Cordilleran people. Bulul maybe a male or female, normally portrayed squatting on the ground with
knees folded up to support its crossed arms. It is commonly carved from a log of narra or ipil, and at
times in stones.
Escapist Bucolic Life in the hands of Angono and Paete Artists – there is blood culture kinship
between the towns of Angono in Rizal and Paete in Laguna, as both were linked by boats crossing the
Laguna de Bay, resulting in intermarriages among fishing families. This affinity is expressed in common
folk tradition like the Higantes in their early histories. In the early 60’s Carlos “Botong” Francisco
designed twelve solid wood-carved panels depicting Philippine historical, cultural and industrial
progress for the 1954 New York World’s Fair. These panels were made by carvers of Paete.
Botong School of Painting in Angono – the paining style of Carlos “Botong” Francisco lives on his
hometown of Angono, were painters who were his students and followers continue to romanticize their
local rural life. They carry on Botong’s painting approach to subjects like bayanihan, fishing, farming,
landscapes with carabaos, the Laguna Lake, local churches of Rizal province, and cultural festivals such
as the Higantes, Viva Kristo Rey and Flores de Mayo. The most notable painters of this school are: Jose
Blanco (1932-2008) & his family of painters which include Perdingon Vocalan, Tam Austria,
Salvador Juban, Pepito Villaluz, Manuel Unidad & Nemesio Miranda.
*Visayas - (NCAA) has facilitated the establishment of 22 schools of living traditions housed in balay-
turun-an among the Panay-Bukidnon- Capiz and Iloilo. The mother school is Central Panay. The three
basic art forms taught in these schools are:
1) epic chanting of Suguidanon about the adventures of the brothers Labaw Donggon and Humadapnon;
2) the art of embroidery called panubok which is used to adorn the saipang, the traditional red or white
blouse for girls and women, with patterns of flowers, stars, water, vines, birds and insects rendered in
simple, rhythmic, and repeated zigzag, straight lines, triangles and diamond forms;
3) the binanog, which was originally a courtship dance performed during harvests and weddings, where
dancers vigorously stamp their feet and gracefully outstretch their arm like birds’wings;
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4) making and playing musical instruments such as the tambol & kubing , making bamboo handicrafts
such as trays and baskets.
The school of living traditions of the Ati of Antique, Negros Oriental, and Guimaras sustain their
nascent lifestyle, language, and environment as they go about their hunting, foraging, and weaving of
baskets from nito & uway.
The Martino Abellana (1914-1988) school of painting in Cebu is named after the master of realist of
portraits and landscapes. Abellana’s style is characterized by a chiaroscuro defined by a unique use of
color progression; from warm hues of yellow to orange, to red, to cool green, to blue and violet.
In Tagbilaran ,Bohol, most contemporary local artistic background to Hermogena “Nene” Lungay who
pioneered the teaching of studio arts. She strived to propagate the practice and appreciation of fine arts,
expressing pride of local place and heritage. One of her finest oils on canvas is Ode in Pink for Gardy. It
is a magical realist scene of Bohol origin myth.
Patadyong Colors and Designs from Visayas as National Art Motif – patadyong is a traditional plaid
textile which women weave in Antique, Iloilo and Negros Occidental, made of most primary colors of
red, yellow, blue, and secondary colors of orange, purple and green.
The aesthetics of patadyong have been a strong influence in contemporary art expressions in the region,
notably in the works of the group in Bacolod called Black Artists of Asia. It was founded by Norberto
Roldan, Nunelucio Alvarado, Charlie Co & Dennis Ascalon in order to explore new styles of
expression while dealing with issues affecting the social & cultural life of local people. Not belong to
the group is Brenda Fajardo social commentary paintings. She is responsible for reviving the craft of
patadyong weaving in the farming community in Bago City. Her paintings, mostly in grid form, depict
women wearing various colors of patadyong.
Painter Cristina “Kitty” Sollesta Taniguchi lives and works in Dumaguete where she founded the
Mariyah Gallery in 1992. Inspired by classic literature, she paints highly personal mythologies which are
integrated into her autobiography of the dream world. She organized Open Dumaguete Biennial
Terracotta Art festival Exhibit in 2005 and 2007.
Iloilo-born painter Rock Drilon was a protégé of National Artist Jose Joya. After three decade of an art
career in Manila, Drilon returned to Dumangas Iloilo to live, work, and enliven the art scene there. He is
known for his highly personal style of abstract expressionism.
*Mindanao - Art Practices in Traditional Communities , The NCCA supports 22 schools of living
traditions in Mindanao where subjects taught by elders include weaving and embroidery of attire, mat
weaving, dance, making musical instruments, and crafting bead accessories. Malong has been
traditionally used for various purposes. It is used as a skirt for both men and women, a blanket, dressing
cover, hammock, and as a prayer mat. It is also used for rituals and the malong dance, the latter also
calling for the crafting of musical instruments.
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San Jose, Antique
In Zamboanga de Sur, the Subanen of Sitio Caragayan in Josefina make notable bead accessories.
Patterns in the bead design called karatis, sabat & batangyawe are repeated diamonds and zigzags in
colors of yellow, red, blue & green.
In Lower Campo Islam, the Maguindanao tradition of dance is enlivened by the sounds of gandingan
gongs & lubakan drums which village folks continue to craft by hand. Purok Waling Waling is known
for its dances & chants.
In Bukidnon, the Talaandig, who live in the highlands of Kalatungan and Kitanglad, speak of peace,
preserving their tradition, and brighter future in the face of the adverse effects of development which
have resulted in widespread deforestation of their ancestral lands.
In 1996 the Talaandig Schol of Living Traditions was established in Brgy. Suko in Kitanglad, in
Lantapan, Bukidnon, under the leadership of Datu Magketay Victorino Saway, and his son Datu
Linsahay “Waway Saway”. The school taught how to make tribal musical instruments like kubibg,
pulala, dayuday, kutyapi, tambol and rejuvenated these with paintings using mud as pigment.
Ukkil from Mindanao as National Symbol – Ukkil or okir is the distinct traditional art form
representing Mindanao. It is curvilinear motif representing the mythical dragon, naga, or serpent. It is
woven or embroidered in clothing, sculpted into wooden house beams called panolong, carved on grave
markers, incised on wooden chests, boxes and bamboo musical instruments, engraved on handles of
swords& blades & etched into cast brass and silver vessels.
Davao was where the National Artist Victorio Edades spent his retirement years creating art and
teaching. There, he influenced established painters such as Tita Lacambra Ayala & Lydia Ingle, both
writers involved with a cultural research and documentation group called the Road Map Series.
Fictionist and poet Jose V. Ayala was also a prodigious abstract painter with whom Edades associated.
Edades influence on these artists was primarily an outlook that encouraged individual styles to develop
innovatively. He co-founded with Aida Rivera Ford, the Ford Academy of Art, which produced artists
Abraham Garcia and the realist Bong Perez.
ACTIVITIES:
ESSAY: 1. What is NCCA? What is the role of NCCA? Why did the government create NCCA?
2. What is the importance of art forms in every region?
3.Research for other artists whose works contributed a lot to Philippine Arts.
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
***END***
WEEK 6
CONTENT: CONTEMPORARY ARTS IN THE PHILIPPINES
MOST ESSENTIAL LEARNING: CONCEPTUALIZES CONTEMPORARY ART BASED ON
TECHNIQUES AND PERFORMANCE PRACTICES IN THEIR LOCALITY
Contemporary art emerged in the Philippines in reaction to social and cultural realities during the
1970s.This period was an era of repression and censorship of artistic expressions. President Ferdinand
Marcos seized state power through the imposition of Martial Law in the early 1970s. He sought to
justify his one-man rule by anchoring his vision of cultural and artistic renewal to the images of the pre-
colonial Philippine society. Marcos state exercised control over the print media, radio, television,
schools and the arts through various presidential decrees, and established a network of cultural and art
institutions governed by his wife, Imelda.
Philippine arts was defined by a system which trained aspiring under the tutelage of more established
ones. This system, however, oriented many young artists to Western artistic traditions, to the detriment
of local artists. Art also became a means to oppose the regime, and the political art of social realism
flourished at this time.
Significant Contemporary artists from Region VI where our school is located at.
The Arts and Wonders of Western Visayas
 Aklan
 Antique
 Capiz
 Guimaras
 Iloilo
 Negros Occidental
Western Visayas is an administrative region the Philippines, numerically designated as Region VI. It
consists of six provinces and two highly urbanized cities. The regional center is Iloilo City. The region is
dominated by the native speakers of four Visayan languages: Kinaray-a, Hiligaynon, Aklanon and
Capiznon.
Famous personalities and their contributions to art.
Music
 Jose Mari Chan (Iloilo City) – He is the personification of Christmas cheer – with his hopeful voice
wrapping the country in warmth every holiday season. Whether through his Christmas hits or his equally
seminal pop songs, the goodwill imbued by his music lives on. Ex. Christmas In Our Hearts, Thank You
Love, A Perfect Christmas Past, First Romance
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San Jose, Antique
 Jed Madela (Iloilo City) – John Edward Madcela Tajanlangit, born on July 14, 1977, better known by
his stage name, Jed Madela, is a Filipino singer, recording artist, songwriter, TV host, entertainer and
actor. He was the first Filipino to win the World Championships of Performing Arts title. He was the
first “Grand Champion Performer of the World” from the Philippines, winning the coveted title in 2005
at that WCOPA event, he won all the major industry awards in addition to capturing the top crown. He
was signed by Universal Records and to date has had six double platinum albums with most becoming
classics. He has become a superstar Filipino recording artist and songwriter, and he is known as “The
Singer’s Singer.”
Acting
 Alan K. – Alan Joveness Quilantang (born December 13, 1958 in Isabela, Negros Occidental),
popularly known by his stage name Allan K., is a Filipino comedian, actor, singer and TV host. He is
one of the co-hosts of the noontime show Eat Bulaga.
 Susan Roces – Jesusa Purificacion Levy Sonora (born July 28, 1941), better kwon by her screen name
as Susan Roces, is a Filipina actress and widow of Ronald Allan Kelley Poe, better known as Fernando
Poe, Jr. She was a main cast member of John en Shirley, a comedy show that aired on ABS-CBN until
October 2007. She is also known for the main role of Flora “Lola Kap” S. Borja – de Leon from FPJ’s
Ang Probinsyano which began airing in ABS-CBN from September 28, 2015 to present.
Literary
 Graciano Lopez Jaena (Jaro Iloilo) – (December 18, 1856- January 20, 1896) was a Filipino
journalist, orator, revolutionary, and national hero who is well known for his newspaper, La Solidaridad
 Magdalena Jalandoni (Jaro Iloilo) – Magdalena Gonzaga Jalandoni (May 27, 1891 in Jaro, Iloilo-
September 14, 1978) was a Filipino feminist writer. She is now remembered as one of the most prolific
Filipino writers in the Hiligaynon language .Hailing from Western Visayas, her works are said to have
left permanent and significant milestones in Philippine literature. Her famous peom “Ang Guitara” is
read in classrooms all over the country today. Her other famous works include “Anabella” “Sa Kapaang
Sang Inaway”(The Young Woman in the Store) and “Ang Kahapon ng Panay” (The Past of Panay)
 Doreen Fernandez (Silay, Negros Occidental) - Doreen Gamboa Fernandez was a noted Filipino
teacher, writer, cultural historian, and scholar who wrote extensively about Philippine theather and
Filipino cuisine.
 Alex delos Santos – Alex C. Delos Santos born on September 24, 1967, in San Jose, Antique is a
Karay-a writer and theatre artist based in San Jose, Antique. He completed his Master of Education with
an academic excellence award from the University of the Philippines in Visayas. His research and
writing interests are in culture and arts and gay literature.
Dance
 Mariant Escano Villegas (Dumaguete) – a professional ballet dancer and instructor, founder of MEV
Dance Company
Famous Artworks in the Region
Paintings
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San Jose Branch
San Jose, Antique
 Cristina Sollesta Taniguchi (Dumaguete City)– is a champion of feminine aesthetic

 Charlie Co (Bacolod) is a Filipino Asian Modern & Contemporary painter
 Dennis Ascalon (Iloilo City) – is a black artist in Asia
 Hersely-Ven D. Casero (Dumaguete) – is Dumaguete’s most successful and fast-rising visual artist to
date.
Architectural Works in the Region
Mansions
 Nelly’s Garden - tours are offered of this opulent beaux arts mansion built in 1928 for statesman Don
Vicente Lopez. Address: Brgy E Lopez St. Jaro, Iloilo City, Iloilo.
 Ledesma Mansion – the mansion was first owned by Rosario Lopez Javelona and her husband Don
Luis Ledesma. The house was one of the few that was spared from destruction during the World War II.
Churches
 Molo Church – Molo Church is known as the “the feminist church”. It is one of Iloilo City’s finest
Spanish-colonial churches and heritage sites.
 Jaro Cathedral – formally Jaro Metropolitan Cathedral and the National Shrine of Our Lady of the
Candles, is the seat of the Roman Catholic Archdiocese of Jaro. It is located in the district of Jaro in
Iloilo City, Iloilo, on the island of Panay.
 Anini-y Church – Anini-y church of the Parish of St. John of Nepomuceno is the only preserved church
in Antique, originally built by the Augustinian Friars.
Ruins in the Regions
 The Ruins – is the remains of the ancestral home mansion of the family of Don Mariano Ledesma
Lacson and Maria Braga Lacson. It is situated in Talisay, Negros Occidental, Philippines. The mansion
was built in early 1900’s and inspired by Italian architecture.
 Guisi Lighthouse – is an 18th century Spanish-colonial lighthouse built beside the beach. It was built to
guide mariners passing the Iloilo and Guimaras strait.
Internet Source: https://prezi.com
Film and Broadcast Arts
 CineKasimanwa: Western Visayas Film Festival, ran by filmmakers for filmmakers, is currently the
largest regional festival film festival in the Philippines in terms of programmed films, audience
attendance, number of venues, number of workshops, number of live film screenings, number of
outreach and satellite screenings. Also the home of the first ever short film grants program in the
Philippines given by a film fest in partnership with the Department of Tourism – Region 6 as major
stakeholder.
 “Tahi” - film produced by Antique National School , was hailed as the best film in the Regional
Adolescent Health Development (AHD) Film Festival 2017 by the Commission on Population
(PopCom)-6. (internet source: pia.gov.ph)
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
LEARNING ACTIVITY

ACTIVITY
Research for other artists that can be found here in Antique, write their contributions in
Philippine Contemporary Arts. Provide photos.
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
***END***
WEEK 7
CONTENT: AVAILALE LOCAL MATERIALS
MOST ESSENTIAL LEARNING: CRITIQUES AVAILABLE LOCAL MATERIALS AND
APPROPRIATE TECHNIQUES USED IN CREATING ART
Local Materials to Contemporary Art
Puni or Palm Folding (Bulacan) Bulakenyo’s way of
decorating using leaf fronds folding. The Art of Leaf Fronts
Folding in Bulacan Province Philippines. A tagalog term from
the province of Bulacan which means to beautify or decorate
with the use of coconut leaf. Coconut leaves are fashioned by
folding, plaiting, braiding and simple weaving, which may have
functional as well as aesthetic uses. Puni designs can be
categorized according to their uses. The most common designs
are in form of toy such as birds, fish, grasshopper, etc. They are
also used as food containers for suman, rice and various kakanin,
the most commonly known is the “puso” and paraphernalia for
religious rituals especially during Palm Sunday when these
design are used to accentuate the “palaspas”. But today they
serve as modern artistic expressions and arrangement. The art is
being used revived through practical ways by preserving, developing and transforming these puni
designs into decorative pieces used as decors, accessories and accents for various arrangement or crafts.
Singkaban or Bamboo Art – Singkaban is a local term for bamboo

arches elaborately designed with kayas. Filipino word for decorated
bamboo arch, is used as a welcome signage of a town, city or village in
the country. It is widely used as decoration during town fiestas in
Bulacan.
Singkaban Festival is an annual provincial event of Bulacan where
Bulakenyo culture and arts are featured in a week-long celebration.
Saniculas Cookie Mold Carvings (Pampanga) Saniculas cookies are

arrowroot cookies that have the image of St. Nicholas molded on it ergo
the name Saniculas. St. Nicholas is also known as “the healer” and is the
go to saint for those whoo need “healing” from illness. The moulds are an
exceptional piece of folk art and a rarity. Saniculas cookie makers would
commission the carvers of these moulds with one of a kind designs. They
would also have the initials of the owner monogrammed on the moulds.
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San Jose Branch
San Jose, Antique
Pabalat or Pastillas Wrapper Cutting Art (Bulacan) The word

pabalat has two levels of meaning. On a literal not, it pertains to the
pabalat as a product (paper cut-outs). On a metaphorical level, it
connotes the state of the art practice. The art is not only a cultural
product or an artistic expression but also cuts through some cultural,
social, even political discourses and issues.
o Pabalat is also a folk art or in Filipino term, siningbayan. It is a folk art
because it originated among the townsfolk reflecting their traditional
culture.The art practice has also been passed from generation to
generation and its creative elements and aesthetic values mirror the people’s everyday life.
o Another important aspects of this folk tradition is that the makers of these intricate paper patterns do not
see themselves as artists and do not consider their works as arts.
Taka (Laguna) Taka Making, A takaan, carved wooden sculpture,

is used as a mold in making taka. Brown craft paper is used a final
layer for taka made for export. This provides a thicker base and
smoother finish for the craft. Taka refers to “paper mache” made
using craved wooden sculpture used as a mold. The craft originated
in the town of Paete, Laguna Philippines.
o T h e a r t o f “ t a k a
around for centuries. In the Philippines, the first recorded or
mention of a created taka was by a woman named Maria Bague in the 1920’s.
o Taka was pioneered by Paete local, Maria Piday. During Christmas, Piday was in charge of the church’s
decorations. The wooden angels and cherub was heavy causing the carvings to fall. Piday devised the
lightweight taka paper mache as an alternative to the wooden sculptures.
o Subject of of Taka - Common and traditional subjects of taka include the Manok, kabayo, kalabaw,
dalage which is made primarily for local use. Due to exposure and migration of Paete residents to
Manila and abroad, European-influenced paper mache toys began to be made for export to other
countries, such as Germany.
Pagbuburda (Taal, Lumban, Laguna) The art of

embroidery is happily alive and flourishing in these towns.
Although it’s mostly done by women who are wives of the
farmers and fishermen, it is not uncommon to see fishermen
and farmers who are also carefully and delicately
embroidering floral designs during their “off-season”.
o I n t h e h i g h l i g
presidents Diosdado Macapagal and Ferdinand Marcos were
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San Jose, Antique
usually seen in Taal-emboridered Barongs. A number of former First Lady Imelda Marco’s fabulous
ternos were Taal-embroidered.
o Taal embroidered has also adorned garment accessories and home décor items. Although the embroidery
on jusi and piña fabric, it’s also dainty on cotton, linen and ramie.
o The embroiderer would have to slightly dampen the textile and separate thread by thread, and then stitch
them together to achieve the dainty netted look of calado embroidery. Truly mad props to embroidery
artisans of Lumban for this feat.
Internet Source: slideshare: Local Materials to contemporary art by Mycz Doña
LEARNING ACTIVITY
DIRECTION:
ACTIVITY:
 Choose only one: Puni, Singkaban or Pabalat
 Search what are the steps and materials in making this kind of art.
 Example: If you choose Puni, search the materials and steps and then you will going to
make it.
***END***
WEEK 8
CONTENT: TRADITIONAL TECHNIQUES APPLIED TO CONTEMPORARY CREATION
MOST ESSENTIAL LEARNING: EXPLICATES THE USE OF AVAILABLE MATERIALS AND
THE APPLICATION OF TECHNIQUES
Visual Arts
Pottery is the oldest art form due to the fact that its medium, earth, is abundant. Clay together from dry
soil is first pulverized, removing lumps, pebbles, and stones. Water is added slowly, kneading it for even
SENIOR HIGH SCHOOL
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San Jose, Antique
moisture and smooth consistency. Terra cotta refers to earthenware that is typically reddish brown,
fired porous, and kept unglazed. There are three basic pottery techniques:
(1) free modelling, where shapes are formed on a ball of clay using bare hands; (2) hand-construction,
in parts of coil or slab and pinching these together; and (3) potter’s wheel, where a rotating platform is
used to shape a vessel. The first two methods can be supplemented by the paddle-and-anvil technique
where a paddle is used to smoothen the outer surface while a smooth stone anvil is pressed against the
inner wall. The surface maybe treated before or after firing such as through polishing, slipping, incision,
impression, applique work, and painting. When a formed clay piece is fired for the first time, it is called
a bisque, or is said to be bisque-fired; more advanced potters build kilns for better control of firing. If
glaze is applied to a bisque and fired a second or more times, it is called glaze-fired, rendering its
surface shiny and impervious.
Weaving is a general method of producing a surface or an object by entwining a strip or strand that is
longitudinal called warp with a horizontal one called weft at right angles or at an obliquely
perpendicular direction.
Basic Weaving Techniques: (1) Shedding; raising and lowering of warp yarns by means of the harness
to form shed, opening between warp yarns through which weft yarn passes. (2)Picking: inserting of weft
yarn by the shuttle through the shed. (3) Beating up: packing the weft yarn into the cloth to make it
compact. (4) Taking up: winding newly formed cloth onto the cloth beam, letting off: releasing yarn
from a warp beam.
Basketry is the process of weaving pliant materials into a casing. Plants endemic to the craftsman’s
surroundings are the source of materials.
Banig is a mat woven from leaves or grass. To make a banig, sedge or grass are first gathered from
nearby swamps, mangroves, or flood plains. After dyeing in different colors, these are flattened,
trimmed to size, and dried again until ready to be woven.
Textile Art among indigenous communities is primarily done through back strap weaving. This uses a
back strap loom which consists of two basic timber limbs, the first suspended by cords onto a post or a
tree, where warp (vertical) threads are stretched all the way to other end with another timber limb, which
is strapped to the weaver’s back to keep the tension.
Painting normally refers to the process of applying color or pigment suspended in the binder onto a flat
or two-dimensional surface, such as paper, wood, or cloth. Indigenous coloring was mainly applied to
pottery and weaving; painting in the academic tradition was inherited from the West.
Sculpture is the art of making three-dimensional forms. There are three basic methods of creating
sculpture: (1) modelling or addition in the use of clay; (2) subtraction in carving of hard materials like
stone or wood; and (3) construction by assembling parts by adhesion or welding. In modern and
contemporary times, artist enjoy an almost complete freedom of materials and processes, both hard or
soft, permanent or impermanent, depending on use and intention.
Metal Craft – metal forging uses the traditional Southeast Asian double-bellows forge, and employs
traditional tools. Other forms of metalwork include hand shaping and pounding of metal sheets, a
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San Jose, Antique
laborious method which transforms flat metal sheets into sturdy, solid objects such as the Maranao
kulintang ensemble and gong instruments.
The Graphic Arts – Graphic means “to write” or to illustrate” with line on a two-dimensional surface.
It includes calligraphy, lettering or typography, and layout of architectural design and plans, often with a
pen or sometimes brush. Printmaking and printing are encompassed in the graphic arts.
Printmaking, not to be confused with commercial or machine printing, is the process of making
an art image by hand on a flat-surfaced plate and inking this to transfer its image onto paper.
Printmaking is done to produce original multiples if copies are intended, or to capture unique textures
and effects where it can be achieved only by such process. There are three basic categories of
printmaking based on process are: (1) relief, where ink is applied to the original or upper surface of the
matrix. This can be done from an ukit or carving made on smooth blocks of wood, rubber, or linoleum.
(2) intaglio, where ink is applied on the incised areas or canals beneath the original upper surface of the
material. This can be done on an etching of metal plates such as copper, or zinc, or on acrylic sheets. A
collagraph may also be printed the intaglio way. Intaglio normally entails the use of a printing press. (3)
planographic process, where the matrix retains its original surface but is specially prepared for the
transfer of the image.
Paper Craft
Handmade Paper-Making – Salay in Misamis Oriental is the site of a small scale handmade paper
industry founded in 1987. It produces paper from cogon grass and natural fibers. Paper is also made
using salago bark, abaca bark, and fibers from pineapple and banana, yielding beautiful paper. Artisans
also incorporate decorative leaves and colourful flowers in some of their products.
Paper Mache refers to a substance made of pulp or sheets of paper glued and pressed together and
molded while moist to form into a three-dimensional object. It is called taka in Paete. Laguna where it is
a traditional women’s craft. It grew out of woodcarving done by men and reuses old newspapers in
creating art works. It starts with choosing wood-carved mold or takaan as base for shaping. The base is
coated with lard or oil.
Paper Cutting Art – Pastillas pabalat art is a traditional craft which originated in San Miguel, Bulacan
where carabao milk candies are made. Luz Ocampo of Bulacan made pastillas wrappers from papel de
hapon – cut-ots that depict traditional motifs like bahay kubo, Maria Clara, pounding rice, fowls fronds,
flowers, and trees. She first learned paper cutting in fifth grade. She is also an expert in the art of carving
fruit such as dayap, santol, and suha. She has 25 patented designs. Luz taught her daughter Naty, who
took on the craft later in her life.
Ornament and Decorative Art – ornament is a pattern or motif used to decorate a main object, parts of
a building, a person, or a general environment. A wide variety of decorative styles have been developed
for the plastic arts, often as an identifying sign or as symbol; the ornament itself has become the main
reason for its existence.
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San Jose, Antique
Personal Ornaments are objects worn by a person to enhance appearance and signify status. In
traditional cultural communities, ornaments have ritual functions and often signify emotional states such
as happiness, grieving, or triumph. Often materials are sourced from nature and uniquely crafted for
specific purposes.
The Gaddang are masters of beadwork made from seeds, glass, and precious stones for headpiece,
necklace, bracelets, combs, and other ornaments. Aeta woman wear the ineket, necklaces of glass, stone,
and seed beads. Badjao women’s jewelry consists of anklets, bracelets, ring, pendant and necklaces
made from gold, turtle shell, colored glass, nacre, or black coral, interlocked by silver or brass wires.
The Maranao is well known for fine workmanship in shell inlay such as their wooden dowry chest. The
Bontoc make abkil, men’s armlets from boar tusk, and fuyaya, men’s necklace from boar’s teeth. The
Bagobo make rings and bracelets from tortoise shell, and warrior’s ear pendants from ivory from trade.
Conceptual Art is a philosophical form of fine arts referring to creation where an idea or process is
more important than a finished object made by hand. It originated as a questioning of the nature of art
and a protest against the commodification of fine arts.
Found Objects refer to machine-produced articles for daily use that are transformed simply by
removing it from its original context to signify a different message.
Multimedia Art implies a broader scope where visual elements are combined with the nonvisual such
as sound, motion, literature, drama, dance, graphics, music, performance, and situation. It also refers to
the field of computer-controlled integration of text, graphics, drawings, still and moving images,
animation, audio, and any other media where type of information can be represented, stored, transmitted,
and processed. It is interchangeably used with the term intermedia which includes interdisciplinary
artistic activities such as drawing and poetry as one, or painting and performance as one.
Performance Art, an antithesis to theater, is an outgrowth of conceptual art where the dimensions are
time and space, and the materials are the performer’s body and its interaction with an audience. It may
be scripted or spontaneous, or planned with improvisations. The performer may be present or absent. It
was originally meant to be ephemeral, an authentic experience that could not be repeated nor purchased.
Installation Art is an outgrowth of conceptual art, and is a visual art form often specifies to a three-
dimensional site. Its intention is to transform space into a specific sensual experience. Generally the
term refers to interior spaces, while outdoor interventions are referred to as environmental art: but the
terms can be interchangeable.
Architecture is the creative conceptualization of graphic descriptions of a building or blueprints that
address a set of design objectives, which considers materials, construction techniques, and instructions
to successfully translate the concept of the architect into built form.
MATERIALS OF FILIPINO ARCHITECTURE
Plant-based materials, like wood or timber, bamboo, rattan, leaves, and fibers, are abundant in
historical architecture because of their availability and readiness-of-use from the immediate
surroundings. These materials can be favourable for their compressive or flexural strength, resistance to
degradation, or ease of processing considered protection against the environment while keeping interiors
cool.
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San Jose, Antique
Masonry refers to building with small building units like concrete hollow block, brick, or stone, with
mortar or palitada as a bonding agent. The mortar mixture is concreted from various formulas, utilizing
a melange of ingredients, such as lime, crushed coal, crushed shells, crushed eggshells, molasses, animal
blood, carabao milk, sugar cane extract, and egg whites.
Metals are extracted from mined minerals from the earth. They are favourable for their durability and
strength, which are retained even when formed into complex shapes. For this reason, metal is used in
piping, roofing, and windows. Steel is commonly used as reinforcement for concrete, which lacks tensile
strength. Commonly-used materials include bronze, brass, aluminium, cast iron, and tin, as well as
various kinds of steel, including stainless steel.
Glass is made of silicates (sand) and oxides fused at high temperatures. Oxides and other substances
control color and opacity. Though fragile, glass has excellent transparency and good resistance to
weather and chemicals. For this reason, glass is most commonly used in windows, skylights, dividers,
and openings to control illumination, temperature, and privacy. Because of this, glass often symbolizes
openness and lightness.
Composite materials are made by combining two or more materials with different properties which
result in unique combinations of their properties. They allow new engineering possibilities for builders,
or allow for tailoring the properties of the material for the application.
TECHNIQUES IN ARCHITECTURE
Load-bearing construction relies on the sheer weight of the building to support itself by using thick
walls, as in the Ivatan houses.
Post-and-lintel construction consists of a horizontal member, called lintel or beam supported at both
ends by vertical members, called posts or columns, like those found in the traditional bahay na bato at
kahoy, bahay kubo, and other indigenous houses.
Arches, vaulting, and domes are masonry constructions made of segments or blocks of stone or brick,
arranged in a curved pattern to transfer building loads from a vertical to a horizontal thrust, allowing a
building to have larger spans. Essentially, an arch is a single line of segmented masonry arranged in a
curve, a vault is an arch stretched on its depth, while a dome is an arch rotated on itself. These method
have been improved by modern materials and technology. They affect and are also limited by labor,
tools, and the skills necessary to secure, manufacture, and transport building materials.
Thin shell is three-dimensional curved plate structure of reinforced concrete whose thickness is small
compared to its dimension and is characterized by its three-dimensional, load-carrying behavior which is
determined by the geometry of its form, by the way it is supported, and by the nature of the applied load.
An example of thin shell architecture is the Church of the Holy Sacrifice at UP Diliman, which was
designed by National Artist Leandro Locsin.
Folded plate is a roof structure in which strength and stiffness is derived from a pleated or folded
geometry. It is a special class of shell structure formed by joining flat, thin slabs along their edges to
create a three-dimensional spatial structure.
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Space frame is a three-dimensional structural framework in which all elements are interconnected to
maximize stability and to effect resistance to loads applied in any direction. While the members of a
truss lie on one plane, comprising height and width, the members of a space frame function in terms of
height, width, and depth. Example: The above ground stations of the Light Rail Transit Line (LRT-2)
that runs along the east-west route of Metro Manila.
Geodesic dome is a skeletal frame based on triangles that are grouped into very stable, strong
polyhedrons. Polyhedrons are solid geometric figures having many faces and are found in nature.
Geodesic domes can be very large, and they require no interior supports. Builders can easily assemble
the skeletal frame from prefabricated modular parts. The framework can be sheathed in glass, plastic,
plywood, or a variety of other materials. The triangles or truss of geodesic structures may be left visible
when buildings are finished. In these cases, the buildings have a pronounced geometric appearance. The
linear network of the truss skeleton thus becomes an important visual feature such as the durian-inspired
dome at the People’s Park in Davao City.
Cantilever is a horizontal member projecting beyond its support. Cantilevers overhang and prevent
obstruction of movement beneath them, which is why are often used in entrances and waiting areas. The
buildings of Leandro Locsin at the Cultural Center of the Philippines in Manila such as the CCP Main
Theater, Folk Arts Theater, and Philippine International Convention Center (PICC) employed huge
cantilevered blocks to resonate the visual lightness and floating character of the bahay kubo.
Suspension construction consists of carrying the structure using steel cables attached to vertical pylons
or masts. Tensile construction carries a stretched membrane, often used as a roof in exhibition tents or
sports arenas. Suspension and tensile construction can economically and attractively span large
distances.
PERFORMING ARTS
Theater has several meanings. First, it denotes a building in which performances is held with an
audience and in this sense the term refers to a physical space. Theater is also an event where audience
and performers come into contact-to watch and to be watched. In human culture, theater is everywhere
and is widely practiced. For an audience, the art of theater is the art of finding human action worth
watching for a period of time in a designated performance space.
The theatrical forms that flourished and continue to flourish among the different regions of the
Philippines include the following: indigenous theater, mainly Southeast Asian in character, which is
seen in rituals, dances, and customs: play with Spanish influence, among which are the komedya,
sinakulo, sarswela, and the drama; and American-influenced theater, which encompasses bodabil, plays
in English, and the modern or original plays by Filipinos, which employ styles drawn from
contemporary modern theater.
Theater as a medium of art, regardless of performance technique and genre, must possesses certain
elements. Without these, theater ceases to be an art and is reduced to a mere event with a different
experience.
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1.Audience. The essence of theater is the interaction between the performer and audience. Theater needs
to be experienced live and the audience provides the immediate feedback to the performers. In a live
theater experience, when the audience laughs out loud or cries, then the actors respond to that energy.
This is in contrast to a movie, where there is no communication between the actors and audience.
2. Performers. These are the people onstage presenting characters in dramatic action. Acting is at the
heart of a theater. The audience watch to see a performer pretend to be someone else. When the actors
are on stage, they must be believable as the character they are portraying.
3. Text or Script. It is the blueprint for the production and performance. The playwright creates the text,
which follows a dramatic structure. He transforms the raw material – the incident, the biographical
event, the myth – into a drama that is acted out by the performers in character.
4. Director. The director makes certain that the performers understand the text and deliver the script
excitingly and appropriately. The director also makes sure the blocking, costume designs, set designs,
and other aspects of the show blend together to make a production that works.
5. Theater Space. It is the space in which performers or audiences come together. It is essential to have
a stage, or some equivalent area, where actors and actresses can perform. Likewise, within this space a
place for the audience is designated where they can sit or stand.
6. Design Elements. These include scenery, costumes, music, sound, lighting, and other effects that
contribute to the performance.
M U S I C is an intangible art form that is expressed through sounds. Its main media are separated into
two categories, namely vocal and instrumental media, the former referring to sound produced through
the human voice, while the latter refers to sounds produced using crafted instruments that produce
different sounds depending on the method of use.
From the technical point of view, sound is measured in terms of duration, amplitude (loudness or
softness), and frequency (pitch). Differences in terms of its uses can be determined by rhythm
(subdivision of time into patterned or non-patterned units), tempo (speed, or slowness of articulation),
and timbre (the quality of the sound depending on the number of overtones of harmonics). The
variations in these elements are shaped and configured according to taste and use of each individual
culture.
Classical Music is usually heard in concert halls and auditoriums and have been composed by
musicians who have been composed by musicians who have had formal training in music. Classical
music may be performed outdoors but still within the context of concerts to be listened to by an
audience. The classical music that has been derived from the European traditions consists of solo
instrumental pieces, symphonic overtures, solo instrumental pieces, symphonic overtures, symphonic
poems, symphonies and concertos, as well as theater pieces like the opera (serious drama) and the
operetta (comedies).
Among the works in the traditional western forms, the Philippines contributed the solo art song called
kundiman which had been derived from the comintang and its modal tonality. The kundiman follows a
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certain pattern of minor-minor-major tonal parts and is based on poetry which professes intense and
eternal love, whether it is intended for a woman or for the country. Some of the immortal kundiman are
Nicanor Abelardo’s “Nasaan Ka Irog”, Francisco Santiago’s “Madalin Araw”, and Bonifacio Abdon’s
“Kundiman”. The other musical forms are usually imbued with local themes or subjects and/or uses folk
melodies to create a Filipino identity to these compositions. Ramon Santos composed Penomenon, a
five-part orchestral work which pictures different Filipino settings such as Pagdiriwang, Harana, Pasyon,
Balang and Agay-ay.
Semi-Classical Music may be heard in different places- outdoors, at different programs and social
gatherings, and other less formal settings that are usually designed for entertainment.
Sarsuwela is a musical drama performance which was derived from the Spanish zarzuela, and
was popular during the late Spanish to the American period. Just like its predecessor, the music of the
Filipino sarsuwela was derived from dance music. One of the famous songs composed for a Filipino
sarsuwela was “Bituing Marikit” by Nicanor Abelardo which was cast in the form of the danza.
:Nabasag and Banga” from Dalagang Bukid was composed by Leon Ignacio in the rhythm of the
foxtrot.
Band Music is characterized by mostly using wind and percussion instruments. Originating from
the military garrisons, the band played for people’s parades, religious processions, as well as
accompaniment to the komedya. Many hymns, patriotic songs, and marches including the Philippine
National Anthem were composed for the band.
Rondalla is derived from the Spanish comparsa and estudiantina (a band of students going
around to serenade). The Filipino rondalla is made up of plucked string instruments of different sizes.
The rondalla forms like the danza and the polka, and is commonly used to a accompany folk dances.
Semi-classical songs are usually love songs or love ditties that use dance forms and have been
derived from the Filipino sarsuwela. Some of the composers who wrote in this idiom are Josefino
Cenizal, with “Hindi Kita Malimot” and “Tanging Pagibig Ko”, and “Antonio Maiquez who wrote
“Itanong Sa Bulkalak” and “Maruja”. These songs also derived their aesthetic impact from the lyrics
which have been written by well-known lyricists such as Levi Celerio, Jesus Balmori, Jose Corazon de
Jesus and Severino Tolentino.
Popular Music and Jazz – popular music emerged as a result of the introduction of jazz and vaudeville
by the Americans, as well as other forms of entertainment. The vaudeville was a variety show that
included music, dance, acrobatics, and magic. The musical component usually consisted of jazzy songs
like “Balut, Penoy” sung by the queen of the stage, Kathy de la Cruz. There were also semi-classical
songs that were derived from the movies, and even the classical kundiman sung by the Sylvia La Torre.
Some of the first original Filipino poluar music were “Hahabol Habol” by Clod Delfino and rendered by
Bobby Gonzales and “Pitong Gatang” as sung by Fred Panopio.
Rock and roll as a genre began in the United States, drawing influences from jazz, blues, gospel, and
boogie-woogie. The Filipinos did not compose its own music at first but instead copied the singing
styles of the American performers, like Eddie Mesa who was the Elvis Presley of the Philippines,
Diomedes Maturan who emulated Perry Como and Victor Wood who imitated Tom Jones. It was only in
the 1970s when Filipinos emerged with their own versions of Led Zeppelin and Jefferson Airplane in the
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music of Juan de La Cruz Band and Mike Hanopol who made songs like “Balong Malalim” “Project”
and “Laki sa Layaw”. In the 1980s a milder version of rock and roll was espoused by the Hotdog band,
Cinderella Band, and the APO Hiking Society with their so-called Manila Sound hits: among these are:
“Ikaw ang Miss Universe ng Buhay Ko”, “Manila”, and “American Junk”. Basically, the approach was
to combine Tagalog and English or Taglish for the text, which had much appeal among young listeners.
Rock opera are similar to broadway musicals, except that the music is based on rock music. Pioneering
works in this genre include Nonong Pedero’s Tales of the Manuvu, which is based on the text by Bien
Lumbera; Gomburza by Philip Montserrat base on the text by Chinggay Lagdameo: and Rama, Hari and
El Filibusterismo by Ryan Cayabyab. Today, this trend continues with Rak of Aegis, with original songs
from the Aegis group repertoire, and Manhid, based on the music of Kanakan Balintagos and the
Eraserheads, and Ang Huling Ladga ni Apolinario Mabini, based on the music of Krina Cayabyab.
These rock operas play to full-packed audiences at the PETA Theater, the Cultural Center of the
Philippines, and the Wilfrido Ma. Guerrero Theater.
Popular Filipino Songs in the 1960s, were written in English and were influenced by American ballads.
These include “A Million Thanks to You” by Alice Doria Gamilla and “Never Say Goodbye” by Willie
Cruz. In the early 1970s the Filipino popular song derived its influence from the kundiman, broadway
songs, and music for cinema.
Folk ballads are usually sung solo with guitar played by the singers themselves. Some of these songs
include Florante de Leons “Tayo’y Mga Pinoy,” Freddie Aguilar’s “Anak”, and Carina David and
Rebecca Demetillo’s “Base Militar”.
Fusion or the indigenization of popular music was initiated by Joey Ayala and his Bagong Lumad,
playing indigenous instruments like the hagelong, the jew’s harp, and drums. Asin, on the other hand,
included the kulintang in their songs.
Philippine Jazz started when jazz bands began playing folk tunes like “Bahay Kubo” and “Leron Leron
Sinta” to boogie-woogie and swing rhythms. Today, a whole new repertoire of Filipino jazz music have
been composed by Angel Peña, Lito Molina, Toots Tolentino, and Mel Villena. The jazz community
usually keep themselves from being tagged as popular or pop music, as they consider jazz as something
sacred and caters only to aficionados.
Camera Arts
Photography is the technology of extracting durable images through the recording of light either by
digital or electronic means or chemical means using light-sensitive material such as film. The word
photography is derived from Greek and means “to write with light” although a more accurate description
would be “light-drawing”.
Cinema is an audiovisual experience. They have the power to move us, motion pictures or movies do
not actually move themselves. Each frame of film is a still image called a shot. The illusion of image
motion is made possible by the persistence of vision, the brief retention of an image on the retina of our
eyes after a stimulus is removed.
There are three fundamental principles in the creation of form in film:
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1.Fim depends on light. Light is the essential element in the creation and consumption of motion
pictures. Film images are made when a camera lens focuses light onto either film stock or a video sensor
chip. Movie theater projectors and video monitors all transmit motion pictures as light, which we then
see through the lenses and senses in our eyes. Light is not only important in creating images, but
directors utilize light to create mood and convey meaning. The way light is used can make a character
appear attractive or unattractive, welcoming of frightening. It can also reveal the state of mind or
intentions of a character.
2. Film creates an illusion of motion. When we watch movies we believe we are watching the
continuous movement of images on the screen; however, we are actually seeing a rapid succession of 24
individual frames per second. What allows us to see the illusion of uninterrupted movement is called
persistence of vision.
3. Film manipulates space and time in a distinct manner. Much of the power of film comes from its
ability to reconstruct time. Film is not limited to a sequential order of clock time; it can travel back and
forth in time between past, present, and future like no other medium can. Filmmakers can manipulate
time by slowing or accelerating motion. It can condense several days’ worth of action into mere minutes.
Film also has the power to instantly shift locations through editing.
Elements of Film Form
1. Narrative is the art form of storytelling. It can be understood as means by which the story within a film
is structured and organized. What a movie is about – its story, characters, and world – forms its
narrative. The narrative is present as soon as a script is finished and before the production of the movie
even begins.
2. Cinematography is defined as “writing in movement” and depends largely on photography. The art of
cinematography is concerned just as much with how something is being filmed. Cinematography is not a
rudimentary and arbitrary process of filming the actors.
3. Mise-en-scene is an aspect of film that includes everything that appears before the camera within a shot.
Set, locations, actors, props, costumes, light and shadow, and staged body motion are all part of mise-
en-scene. Everything on screen in a film has been deliberately included at an artist’s direction and for a
purpose. Mise-en-scene is contributed to by a variety of talents on the film crew-production designers,
make-up artists, set builders, cinematographers, and actors.
4. Editing is the linking of two different pieces of film (ex. two different shots). An editor uses time and
continuity as tools in presenting the narrative. It is the editor’s job to piece the whole movie together
from all of the scenes and different editing techniques. The most common of theses is the cut, in which
one shot transitions abruptly into the next.
5. Sound in film is often overlooked because we tend to think as a fundamentally visual medium. Sound is
powerful film technique and it can actively shape how we perceive and interpret the image. There are
three components of sound in film: dialogue, sound effects, and music. Music is the most evident and
striking of the components. Sometimes a film’s soundtrack can become just as renowned and
remembered as the movie itself. Dialogue and sound effects, while more subdued in effect than music,
are essential in bringing us into the world of the film and suspending our belief. There are two types of
sound n film: diegetic, which is sound within the story world (radio sound, speech, traffic noises,
weather noises, etc.) and non-diegetic, sound outside the story world (voice-overs and music on the
soundtrack)
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Techniques of Filmmaking
o Narrative filmmaking refers to the types of movies that tell a story which is directed towards fiction
and dramatic story-telling. These are the films produced by big studios and are widely screened theaters,
broadcast on television, streamed on the internet, and sold as DVDs and blu-rays. Fictional filmmaking
is another term for narrative cinema, though the word fictional does not imply that such movies are
purely based on fictional events. The filmmaker has the freedom to create storylines and alter historical
facts as he or she sees fit. This freedom allows the director to shape the movie and perfect the story.
o Documentary filmmaking. Unlike narrative cinema, which tells stories that are usually pure
fabrications of someone’s imagination, documentary filmmaking is more concerned with exposing and
interpreting real facts and historical events for the education of viewers, or the presentation of political
or social analyses, and even propaganda. Even though documentary cinema explores real events, not all
documentaries present the absolute truth. Filmmakers, like any other artists, are both privileged and
burdened by the power of manipulation. As such, they are blessed and cursed by the possibility to bend
the truth.
o Experimental filmmaking. This is the most difficult of all types of movies to define with any precision
because experimental filmmakers actively seek to challenge categorization and break convention. Also
known as avant-garde, experimental films are rare and unpopular. As the word “experimental” suggests,
this type of movie is trying something new and different. It is an amalgam of ideas put together by the
filmmaker without any regard for characters, structure, or theme. The vast majority of avant-garde films
are not screened in theaters, broadcast on TV, or sold in discs. They are not mainstream and have little to
no commercial value.
DIRECTION:
ACTIVITIES
a. Research into a local art or craft tradition and determine the media and techniques
employed in it. Make a documentary presenting and analysing the media and
techniques involve in creating the art.
b. Make a paper detailing the media and techniques you will utilize in realizing or
executing your chosen artwork.
***END***
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WEEK 9
CONTENT: CONTEMPORARY PHILIPPINE ARCHITECTURE
MOST ESSENTIAL LEARNING: IDENTIFY THE LOCAL HISTORY OF A SPECIFIC
ARCHITECTURAL ART FORM
Contemporary Philippine Architecture
Architecture is an imaginative and creative blend of science and art in designing different environments
for people. In a much wider scope, architecture includes the design of a complete environment, from
landscape architecture to the complete planning of a town.
The practice of architecture is all about making places. An interior environment, a building, a park, and
a city are places. To produce the ideal human environment, architecture is complemented by its allied
arts, namely:
1.Interior Design which refers to the design and coordination of the decorative elements, surface
finishes, furniture, and fixtures to achieve the planned function and character of the interior
environment. Interior designers plan, design, and furnish the interiors of private homes, commercial
establishments, and public buildings. The work may also involve new construction or renovation.
2. Landscape Architecture which refers to the art of composing landform, vegetation, water, buildings,
and paving to create memorable outdoor environments such as gardens and parks. Landscape architects
design the layout as well as the topography and plant materials for public parks, residential areas,
college campuses, playgrounds, golf courses, shopping centers, industrial parks and parkways. This
work includes the selection of gardens, lawns, hedges, ground covers, and trees.
3. Urban Design which refers to the art of designing towns, cities, streets and spaces. It involves the
design of buildings, groups of buildings, spaces and landscapes, and the establishment of frameworks
and processes that facilitate successful development. Urban designers weave public spaces, diverse uses,
and memorable context into a distinctive pattern of place and enduring places of beauty that transform
our everyday lives.
From old churches to shopping malls, architecture has evolved to reflect the changes in our culture and
society. Spanish colonial churches were built on a grand scale to attract Filipinos to join the Catholic
religion in the 16th century.
Similar to a sculpture or painting, architecture is a visual expression of form, material, and color.
Architecture is more than just a giant sculpture to be looked at. Sculptor Constantin Brancusi once
declared that “architecture is inhibited sculpture.”
In general, architecture and the designed environment are influenced by a variety of factors such as
follows:
1.Need – this is the practical requirement that a building must respond to, and is concerned with the
aspiration, requirements, and limitations to be met in designing a structure. Examples include the
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protection of people and property against harm and dangers such as wind and rain, onlookers, and others
interference.
2. Technology – the current state of technical knowledge in building and the availability of materials,
tools, equipment, and methods for construction will dictate the form of building.
3. Culture – a building can be seen as the material embodiment of the specific ideas and expectations of
a society. This makes the building a cultural object with social and symbolic significance and meaning.
4. Climate- what are the climatic conditions that the building must address to ensure a comfortable
indoor condition? A building must provide an optimum interior climate for the user, his activities, and
his property.
5. Society – What are the social expectations that the building must meet? Buildings create spaces and
places in which people can carry on their activities optimally. Primary elements here are health, welfare,
communication, and quality of life.
Pic.Source: blueprint.onemega.com
O.PEN House-Re-imagining the Vernacular
Architectural Types The O.PEN house in Iloilo City is a creation of the architect-
owner, Oscar Peñasales. The house won the Grand Prize for
1.Domestic Architecture – domestic architecture is Architecture in the 2011 Metrobank Art and Design Excellence
produced for the social unit. This includes the (MADE) Awards.
individual and the family or clan as well as their
dependents, both human and animal. It provides
shelter and security for the basic physical functions
of life that involve the family rather than the
community.
2. Religious and Social Architecture – churches
and mosques serve as places of worship and as
shelter for the images, relics, and holy areas for
religious devotion. Shrines consecrate a holy place
for its miraculous character or for its association
with the life of a founder, the gods, or saints of a
cult. Also included in this category are sacred
grounds and funerary architecture.
3. Government and State Architecture – buildings are required for the performance of the basic
functions of government, such as administration, legislation and dispensing justice. Government and
state architecture include presidential palaces, parliamentary buildings, department buildings, capitol
buildings, city halls, municipal buildings, courthouses, prisons, and barangay halls, among others.
4. Recreational Architecture – recreational architecture facilitates the human need to “re-create”, to
refresh or rejuvenate oneself mentally and physically. This includes gymnasiums, sports arenas, spas,
swimming pools, gaming arcades, hotels, casinos, museums, theaters, libraries, shopping malls, and
other buildings that promote well-being and leisure.
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5. Welfare and Educational Buildings - the principal institutions of public welfare are facilities fro
education, health, public security, and utilities. Schools, hospitals, training centers, rehabilitation
centers, and hospices are examples of this type.
6. Commercial and Industrial Architecture – architecture under this category has a particular economic
function: exchange, transportation, communication, manufacturing, and power production which meet
the principal needs of commerce and industry. Examples include office buildings, stores, markets,
banks, roads, bridges, factories, dams, fuel storage sites and power distribution installations
Visual Elements of Contemporary Architecture

Today’s buildings are expressed in a myriad of fresh approaches as new technologies and materials
encourage change in architectural design. Contemporary architecture exhibits the following visual
features:
1.Zigzag Windows – these are highly-stylized window in the form of sharp incisions shaped like bolts of
lightning.
2. Tent-style roofs – these are lightweight tensile structure or stretched fabric roofs which generate new
and dynamic sculptural geometries.
3. Skin-and-bones aesthetics – these are expressed by external elevators, exposed utilities system
(plumbing, air-conducts, electrical conduits) and structural components are made prominent to highlight
the internal workings of the building in its external appearance .
4. Communication equipment – these include communication towers which are installed in skyscrapers
or tall buildings to enhance the verticality of the building and give a more high-tech look to the
structure.
5. Irregular forms – forms are no longer based on grids or regular solids. With the digital revolution,
non-linear and fluid building forms, which are almost blob-like, are created. Such are nearly impossible
to conceptualize on hand-drawn plans. They rely heavily on the use of computer – aided design and
digital prototyping to generate these non- rectangular and grid forms.
6. Architecture as sculpture – with freedom rectangular grid-based design and new materials to form
the building envelope, buildings are now a subject of sculptural experimentation and structural
gymnastics.
Styles of Contemporary Architecture
Architectural Style Features Examples
Postmodernism Characterized by eclecticism: a Mall architecture, Metrobank
brash, diverse, humorous and branches in the 1990s, Jollibee
colourful architectural style branches.
which emerged as a reaction to
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the simple, restrained

architecture of the modern
movement.
Neovernacular Reinterprets the “vernacular” – The works of Francisco
indigenous, folk, tribal, ethnic, “Bobby” Mañosa such as the
or traditional architecture; uses Coconut Palace and the Shrine
modern materials and processed of Mary, Queen of Peace, Our
indigenous materials. Lady Of EDSA.
High-tech Uses advanced technology and Naia Terminal 3
displays this technology in the
structure; structures feature
shimmering facades of metallic
surface treatments, exposed
steel appendages, glass
envelope, aluminium cladding.
Alternative Architecture Uses recycled materials or The “Rio Dome”: a dome house
alternative materials of
made of earth and a little bit of
construction cement; :Earthbag Construction
System” by Nader Khalili
Deconstructivism Characterized by fragmentation The School of Design and Arts
and disunity; structures look of the College of St. Benilde
fragmented and disjointed, with
sections and walls colliding at
odd angles: interiors have
unusual sense of space.
Green architecture Aims to create structures that Zuellig Building
have a low impact on the
environment; uses new
technologies and natural
materials.
LEARNING ACTIVITY:
DIRECTION: Put your activity in long size bond paper.
ACTIVITY:
o Research on the local history of a specific architectural art form in your
region and construct a graphic timeline using key words and pictures.
Present your timeline.
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***END***
WEEK 10
CONTENT: NATIONAL ARTISTS FOR THE INTANGIBLE ARTS
MOST ESSENTIAL LEARNING: IDENTIFY THE NATIONAL ARTISTS FOR THE
INTANGIBLE ARTS AND DISCUSS THEIR SIGNIFICANT CONTRIBUTIONS TO THEIR
RESPECTIVE ART FORMS.
The intangible arts, namely cinema, dance, music, and theater, offer a multi-sensory experience for
audiences, and engage them in various ways.
CINEMA
Lino Brocka (1997): The Philippines’ Greatest Director
Lino Brocka was a radical filmmaker whose socially conscious films explored the plight of the
marginalized and ignored sectors of Filipino society. Maria Soriano explores his trailblazing life and
career, and looks at his films, which are unfortunately unattainable outside of The Philippines.
Catalino Ortiz Brocka, more famously known as Lino Brocka, was one of the Philippines’ greatest
auteurs. He was born in Pilar, Sorsogon in 1939. His father Regino, who was a huge influence on
Brocka, teaching him Maths and English as well as the Arts, was killed in a political murder when
Brocka was still young. Brocka, along with his mother and brother, had to flee to live with his mother’s
sister. But a good life was far from reach as he and his family suffered physical and verbal abuse from
his relatives and were forced to do hard labour, an experience he would carry with him throughout his
career as a director.
Brocka developed a strong interest in films during his youth, particularly American films, and despite
his poor upbringing he managed to flourish academically and won a college scholarship in the country’s
leading academic institute, the University of The Philippines. Initially majoring in pre-law, he dropped
the course to study literature instead. While studying at the University, he joined the Dramatic Club but
was criticized for his provincial accent and demeanour, a treatment that disgusted him. Brocka took it
upon himself to watch his beloved American movies to practice his English further and improve his
accent, a move that eventually gained him acceptance in the club, but only as a stage hand. After
dropping out of college, he converted to Mormonism and devoted himself to missionary work, travelling
to a leper colony in Hawaii. He then travelled to America and worked menial jobs in San Francisco for a
brief period of time before turning down a chance for American citizenship, opting instead to return to
the Philippines to revive his interest in filmmaking.
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He joined the Philippine Educational Theatre Association where he met its founder Cecille Guidote,
which led to the making of his first film, 1970’s Wanted: Perfect Mother, a box-office hit based on The
Sound of Music, the only film he has made that was not heavy on social injustice and drama. From then
on, Brocka’s films became more personal, his filmography depicting the plights and suffering of the
Filipino people. Some of his best works are Insiang (1978), a revenge tale of a girl’s rape by her
mother’s lover, which became the first entry by a Filipino filmmaker at the Cannes Festival, earning him
the prestigious Palm d’Or. Manila: In The Claws of Darkness (1976), Jaguar (1980), and Bayan Ko (My
Country, 1984) were also nominated for the award, further cementing his reputation as one of the
greatest directors to come out of South East Asia.
Brocka’s films are very character driven, magnifying the oppression and neglect of the common citizen,
the poor everyman barely scrapping by while fighting off abuse from the system. He often cast unknown
actors to focus more on the story and not on the celebrity. Actors such as Bembol Roco, Hilda Koronel
and Laurice Guillen are amongst the unknown actors that worked with him repeatedly for years,
eventually becoming stars in their own right. Alongside his socially conscious films Brocka also
discussed themes of sexuality, which filmmakers during his time tended to avoid. Despite his Mormon
faith, Brocka was openly gay and homosexual themes were often a big part of the narratives of his films,
as was showing sexually confident and strong-spirited women. Brocka’s films highlight the
marginalised and ignored sectors of society- the slum dwellers, prostitutes, street hustlers, as well as
those who were discriminated against simply because of gender or sexuality – subjects that no other
director dared to touch, especially while under the Marcos dictatorship.
Manila: In The Claws of Darkness explores the prostitution of provincial girls and their hand-to-mouth
existence in the city, while Jaguar, which many see as a companion piece to Manila: In The Claws of
Darkness, is about a kind hearted country boy named Poldo who works in the city as a security guard
and is drawn into the seedy underbelly of city life. Brocka manifests himself and his upbringing in his
films by using naïve country folk, just as he once was, trying their luck in the city and finding out the
hard way that the promise of a good life is nothing but an illusion. The gritty violence and voracious
lack of morals in his films can be overwhelming, but it elicits a certain moral response from the
audience that makes them very aware of the depressing state of affairs in society.
Under the Marcos regime, strict censorship was enforced in the media and Brocka was forced to
smuggle his films out of the country for screenings to avoid heavy cuts. In 1984, he flew to Cannes to
support another nomination for Bayan Ko (My Country). In his fight for freedom of speech, he declared
that the Marcos dictatorship had taken control of the Philippine media for its enforcement of censorship,
which resulted in his arrest and imprisonment along with other journalists and filmmakers upon his
return to the Philippines.
He was released from jail after the fall of Marcos and was invited by Corazon Aquino, Marcos’
successor, to be part of a committee to draft the 1986 constitution but left soon after as he felt that many
of the policies worked against the Filipino people. He protested against the new government by making
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radical films such as Ora Pro Nobis (1989) and Gumapang Ka Sa Lusak (1990), with Ora earning him
yet another Palm d’Or nomination.
Lino Brocka died in a car accident on May 21, 1991. His untimely death did not stop his long and hard
fight for social justice as he was posthumously awarded the National Artist Award and is considered, to
this day, the greatest social realist, and the greatest director, the Philippines has produced.
Ishmael Bernal National Artist for Cinema (2001)

(September 30, 1938 – June 2, 1996)
Ishmael Bernal was a filmmaker of the first order and one of the very few who can be truly called a
maestro. Critics have hailed him as “the genius of Philippine cinema.”
He is recognized as a director of films that serve as social commentaries and bold reflections on the
existing realities of the struggle of the Filipino. His art extends beyond the confines of aesthetics. By
polishing its visuals, or innovating in the medium, he manages to send his message across: to fight the
censors, free the artists, give justice to the oppressed, and enlighten as well as entertain the audience.
Among his notable films are “Pahiram ng Isang Umaga” (1989), “Broken Marriage” (1983), “Himala”
(1982), “City After Dark” (1980), and “Nunal sa Tubig” (1976).
He was recognized as the Director of the Decade of the 1970s by the Catholic Mass Media Awards;
four-time Best Director by the Urian Awards (1989, 1985, 1983, and 1977); and given the ASEAN
Cultural Award in Communication Arts in 1993.
Manuel Conde
Conde was born Manuel Urbano, grew up and studied in Daet, Camarines Norte.
In his biography posted in the NCAA website, Manuel Conde has more than forty films created from
1940 to 1963, and has contributed to a great degree in the indigenization of the cinema. He specifically
assigned a history and culture of its own, revitalizing folk culture with urgent issues, and applies fresh
themes and new techniques through his films among others.
His major works includes Ibong Adarna (1941), the satiric character, Juan Tamad (1947), Siete Infantes
de Lara (1950), Genghis Khan (1950), Ikaw Kasi! (1955) Juan Tamad Goes to Congress (1959).
These movies opened the vistas of the Filipino film to other cultures; they also unlocked the doors of
western cinema to the Filipino film, allowing its entry into one of the most prestigious film festivals of
the globe. Later, when these films were bought by foreign distributors, they were exhibited in all parts of
the cinematic world of the time, establishing the presence of the Filipino cinema in the eyes of that
world.
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Gerardo “Gerry” De Leon National Artist for Cinema (1982)

(September 12, 1913 – July 25, 1981)
Gerardo “Gerry” De Leon, film director, belongs to the Ilagan clan and as such grew up in an
atmosphere rich in theater. Significantly, De Leon’s first job — while in still in high school — was as a
piano player at Cine Moderno in Quiapo playing the musical accompaniment to the silent films that
were being shown at that time. The silent movies served as De Leon’s “very good” training ground
because the pictures told the story. Though he finished medicine, his practice did not last long because
he found himself “too compassionate” to be one, this aside from the lure of the movies. His first
directorial job was “Ama’t Anak” in which he directed himself and his brother Tito Arevalo. The movie
got good reviews. De Leon’s biggest pre-war hit was “Ang Maestra” which starred Rogelio de la Rosa
and Rosa del Rosario with the still unknown Eddie Romero as writer.
In the 50s and 60s, he produced many films that are now considered classics including “Daigdig ng Mga
Api,” “Noli Me Tangere,” “El Filibusterismo,” and “Sisa.” Among a long list of films are “Sawa sa
Lumang Simboryo,” “Dyesebel,” “The Gold Bikini,” “Banaue,” “The Brides of Blood Island.”.
Ronald Allan K. Poe National Artist for Cinema (2006)

(August 20, 1939 – December 14, 2004)
Ronald Allan K. Poe, popularly known as Fernando Poe, Jr., was a cultural icon of tremendous audience
impact and cinema artist and craftsman–as actor, director, writer and producer.*
The image of the underdog was projected in his films such as Apollo Robles(1961), Batang Maynila
(1962), Mga Alabok sa Lupa (1967), Batang Matador and Batang Estibador (1969), Ako ang
Katarungan (1974), Tatak ng Alipin(1975), Totoy Bato (1977), Asedillo (1981), Partida (1985), and Ang
Probisyano (1996), among many others. The mythical hero, on the other hand, was highlighted in Ang
Alamat (1972), Ang Pagbabalik ng Lawin (1975) including his Panday series (1980, 1981, 1982, 1984)
and the action adventure films adapted from komiks materials such as Ang Kampana sa Santa
Quiteria(1971), Santo Domingo (1972), and Alupihang Dagat (1975), among others.
Poe was born in Manila on August 20, 1939. After the death of his father, he dropped out of the
University of the East in his sophomore year to support his family. He was the second of six siblings. He
married actress Susan Roces in a civil ceremony in December 1968.
He died on December 14, 2004
Eddie S. Romero National Artist for Cinema (2003)
(July 7, 1924 – May 28, 2013)
Eddie Romero, is a screenwriter, film director and producer, is the quintessential Filipino filmmaker
whose life is devoted to the art and commerce of cinema spanning three generations of filmmakers. His
film “Ganito Kami Noon…Paano Kayo Ngayon?,” set at the turn of the century during the revolution
against the Spaniards and, later, the American colonizers, follows a naïve peasant through his leap of
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faith to become a member of an imagined community. “Aguila” situates a family’s story against the
backdrop of the country’s history. “Kamakalawa” explores the folkloric of prehistoric Philippines.
“Banta ng Kahapon,” his ‘small’ political film, is set against the turmoil of the late 1960s, tracing the
connection of the underworld to the corrupt halls of politics. His 13-part series of “Noli Me Tangere”
brings the national hero’s polemic novel to a new generation of viewers
Romero, the ambitious yet practical artist, was not satisfied with dreaming up grand ideas. He found
ways to produce these dreams into films. His concepts, ironically, as stated in the National Artist citation
“are delivered in an utterly simple style – minimalist, but never empty, always calculated, precise and
functional, but never predictable.”
Dance
Francisca Reyes Aquino National Artist for Dance (1973)
(March 9, 1899 – November 21, 1983)
Francisca Reyes Aquino is acknowledged as the Folk Dance Pioneer. This Bulakeña began her research
on folk dances in the 1920’s making trips to remote barrios in Central and Northern Luzon. Her research
on the unrecorded forms of local celebration, ritual and sport resulted into a 1926 thesis titled
“Philippine Folk Dances and Games,” and arranged specifically for use by teachers and playground
instructors in public and private schools.
In the 1940’s, she served as supervisor of physical education at the Bureau of Education that distributed
her work and adapted the teaching of folk dancing as a medium of making young Filipinos aware of
their cultural heritage. In 1954, she received the Republic Award of Merit given by the late Pres. Ramon
Magsaysay for “outstanding contribution toward the advancement of Filipino culture”, one among the
many awards and recognition given to her.
Her books include the following: Philippine National Dances (1946); Gymnastics for Girls (1947);
Fundamental Dance Steps and Music (1948);Foreign Folk Dances (1949); Dances for all Occasion
(1950); Playground Demonstration (1951); and Philippine Folk Dances, Volumes I to VI.
Leonor Orosa Goquingco National Artist for Dance

(July 24, 1917 – July 15, 2005)
Dubbed the “Trailblazer”, “Mother of Philippine Theater Dance” and “Dean of Filipino Performing Arts
Critics”, Leonor Orosa Goquingco, pioneer Filipino choreographer in balletic folkloric and Asian styles,
produced for over 50 years highly original, first-of-a-kind choreographies, mostly to her own storylines.
These include “TREND: Return to Native,” “In a Javanese Garden,” “Sports,” “VINTA!,” “In a
Concentration Camp,” “The Magic Garden,” “The Clowns,” “Firebird,” “Noli Dance Suite,” “The
Flagellant,” “The Creation…” Seen as her most ambitious work is the dance epic “Filipinescas:
Philippine Life, Legend and Lore.” With it, Orosa brought native folk dance, mirroring Philippine
culture from pagan to modern times, to its highest stage of development.
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She was the Honorary Chair of the Association of Ballet Academies of the Philippines (ABAP), and was
a founding member of the Philippine Ballet Theater.
Ramon Obusan National Artist for Dance (2006)

(June 16, 1938 – December 21, 2006)
Ramon Obusan was a *dancer, choreographer, stage designer and artistic director. He achieved
phenomenal success in Philippine dance and cultural work. He was also acknowledged as a researcher,
archivist and documentary filmmaker who broadened and deepened the Filipino understanding of his
own cultural life and expressions. Through the Ramon Obusan Folkloric Grop (ROFG), he had effected
cultural and diplomatic exchanges using the multifarious aspects and dimensions of the art of dance.
Among the full-length productions he choreographed are the following:
“Vamos a Belen! Series” (1998-2004) Philippine Dances Tradition
“Noon Po sa Amin,” tableaux of Philippine History in song, drama and dance
“Obra Maestra,” a collection of Ramon Obusan’s dance masterpieces
“Unpublished Dances of the Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration of Life
Saludo sa Sentenyal”
“Glimpses of ASEAN, Dances and Music of the ASEAN-Member Countries”
“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in Dance”
Alice Reyes National Artist for Dance (2014)

The name Alice Reyes has become a significant part of Philippine dance parlance. As a dancer,
choreographer, teacher and director, she has made a lasting impact on the development and promotion of
contemporary dance in the Philippines. Her dance legacy is evident in the dance companies, teachers,
choreographers and the exciting Filipino modern dance repertoire of our country today.
Reyes’ dance training started at an early age with classical ballet under the tutelage of Rosalia Merino
Santos. She subsequently trained in folk dance under the Bayanihan Philippine National Dance
Company and pursued modern dance and jazz education and training in the United States. Since then,
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during a professional dance career that spanned over two decades, her innovative artistic vision, firm
leadership and passion for dance have made a lasting mark on Philippine dance.
Perhaps the biggest contribution of Alice Reyes to Philippine dance is the development of a distinctly
Filipino modern dance idiom. Utilizing inherently Filipino materials and subject matters expressed
through a combination of movements and styles from Philippine indigenous dance, modern dance and
classical ballet she has successfully created a contemporary dance language that is uniquely Filipino.
From her early masterpiece Amada to the modern dance classic Itim-Asu, to her last major work
Bayanihan Remembered which she staged for Ballet Philippines, she utilized this idiom to promote
unique facets of Philippine arts, culture and heritage.
By introducing the first modern dance concert at the CCP Main Theater in February 1970 featuring an
all contemporary dance repertoire and by promoting it successfully to a wide audience, she initiated the
popularization of modern dance in the country. She followed this up by programs that developed modern
dancers, teachers, choreographers and audiences. By organizing outreach tours to many provinces,
lecture-demonstrations in schools, television promotions, a subscription season and children’s matinee
series, she slowly helped build an audience base for Ballet Philippines and modern dance in the country.
Among her major works: Amada (1969), At a Maranaw Gathering (1970) Itim-Asu (1971), Tales of the
Manuvu (1977), Rama Hari (1980), Bayanihan Remembered (1987).
Lucrecia Reyes Urtula National Artist for Dance (1988)

(June 29, 1929 – August 4, 1999)
Lucrecia Reyes-Urtula, choreographer, dance educator and researcher, spent almost four decades in the
discovery and study of Philippine folk and ethnic dances. She applied her findings to project a new
example of an ethnic dance culture that goes beyond simple preservation and into creative growth. Over
a period of thirty years, she had choreographed suites of mountain dances, Spanish-influenced dances,
Muslim pageants and festivals, regional variations and dances of the countryside for the Bayanihan
Philippine Dance Company of which she was the dance director. These dances have all earned critical
acclaim and rave reviews from audiences in their world tours in Americas, Europe, Asia, Australia and
Africa.
Among the widely acclaimed dances she had staged were the following: Singkil, a Bayanihan signature
number based on a Maranao epic poem; Vinta, a dance honoring Filipino sailing prowess; Tagabili, a
tale of tribal conflict; Pagdiwata, a four-day harvest festival condensed into a six-minute breath-taking
spectacle; Salidsid, a mountain wedding dance ; Idaw, Banga and Aires de Verbena.
Music
Antonio R. Buenaventura National Artist for Music (1988)
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(May 4, 1904 – January 25, 1996)

Antonino R. Buenaventura vigorously pursued a musical career that spanned seven decades of
unwavering commitment to advancing the frontiers of Philippine music. In 1935, Buenaventura joined
Francisca Reyes-Aquino to conduct research on folksongs and dances that led to its popularization.
Buenaventura composed songs, compositions, for solo instruments as well as symphonic and orchestral
works based on the folksongs of various Philippine ethnic groups. He was also a conductor and restored
the Philippine Army Band to its former prestige as one of the finest military bands in the world making
it “the only band that can sound like a symphony orchestra”.
This once sickly boy who played the clarinet proficiently has written several marches such as the
“Triumphal March,” “Echoes of the Past,” “History Fantasy,” Second Symphony in E-flat, “Echoes
from the Philippines,” “Ode to Freedom.” His orchestral music compositions include Concert Overture,
Prelude and Fugue in G Minor, Philippines Triumphant, Mindanao Sketches, Symphony in C Major,
among others.
Levi Celerio National Artist for Literature / Music (1997)

(April 30, 1910 – April 2, 2002)
Levi Celerio is a prolific lyricist and composer for decades. He effortlessly translated/wrote anew the
lyrics to traditional melodies: “O Maliwanag Na Buwan” (Iloko), “Ako ay May Singsing” (Pampango),
“Alibangbang” (Visaya) among others.
Born in Tondo, Celerio received his scholarship at the Academy of Music in Manila that made it
possible for him to join the Manila Symphony Orchestra, becoming its youngest member. He made it to
the Guinness Book of World Records as the only person able to make music using just a leaf.
A great number of his songs have been written for the local movies, which earned for him the Lifetime
Achievement Award from the Film Academy of the Philippines. Levi Celerio, more importantly, has
enriched the Philippine music for no less than two generations with a treasury of more than 4,000 songs
in an idiom that has proven to appeal to all social classes.
Ernani Joson Cuenco National Artist for Music (1999)

(May 10, 1936 – June 11, 1988)
Ernani J. Cuenco is a seasoned musician born in May 10, 1936 in Malolos, Bulacan. A composer, film
scorer, musical director and music teacher, he wrote an outstanding and memorable body of works that
resonate with the Filipino sense of musicality and which embody an ingenious voice that raises the
aesthetic dimensions of contemporary Filipino music. Cuenco played with the Filipino Youth Symphony
Orchestra and the Manila Symphony Orchestra from 1960 to 1968, and the Manila Chamber Soloists
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from 1966 to 1970. He completed a music degree in piano and cello from the University of Santo Tomas
where he also taught for decades until his death in 1988.
His songs and ballads include “Nahan, Kahit na Magtiis,” and “Diligin Mo ng Hamog ang Uhaw na
Lupa,” “Pilipinas,” “Inang Bayan,” “Isang Dalangin,” “Kalesa,” “Bato sa Buhangin” and “Gaano Kita
Kamahal.” The latter song shows how Cuenco has enriched the Filipino love ballad by adding the
elements of kundiman to it.
Felipe Padilla De Leon National Artist for Music (1997)

(May 1, 1912 – December 5, 1992)
Felipe Padilla de Leon, composer, conductor, and scholar, Filipinized western music forms, a feat
aspired for by Filipino composers who preceded him.The prodigious body of De Leon’s musical
compositions, notably the sonatas, marches, and concertos have become the full expression of the
sentiments and aspirations of the Filipino in times of strife and of peace, making him the epitome of a
people’s musician. He is the recipient of various awards and distinctions: Republic Cultural Heritage
Award, Doctor of Humanities from UP, Rizal Pro-Patria Award, Presidential Award of Merit, Patnubay
ng Kalinangan Award, among others.
De Leon’s orchestral music include Mariang Makiling Overture (1939), Roca Encantada, symphonic
legend (1950), Maynila Overture (1976), Orchesterstuk(1981); choral music like Payapang Daigdig,
Ako’y Pilipino, Lupang Tinubuan, Ama Namin; and songs Bulaklak, Alitaptap, and Mutya ng Lahi.
Francisco Feliciano National Artist for Music (2014)

Francisco Feliciano’s corpus of creative work attests to the exceptional talent of the Filipino as an artist.
His lifetime conscientiousness in bringing out the “Asianness” in his music, whether as a composer,
conductor, or educator, contributed to bringing the awareness of people all over the world to view the
Asian culture as a rich source of inspiration and a celebration of our ethnicity, particularly the
Philippines. He brought out the unique sounds of our indigenous music in compositions that have high
technical demands equal to the compositions of masters in the western world. By his numerous creative
outputs, he has elevated the Filipino artistry into one that is highly esteemed by the people all over the
world.
Many of his choral compositions have been performed by the best choirs in the country, such as the
world-renowned Philippines Madrigal Singers, UST Singers, and the Novo Concertante Manila, and
have won for them numerous awards in international choral competitions. The technical requirement of
his choral pieces is almost at the tip of the scale that many who listen to their rendition are awed,
especially because he incorporates the many subtleties of rhythmic vitality and intricate interweaving of
lines inspired from the songs of our indigenous tribes. He not only borrows these musical lines, albeit he
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quotes them and transforms them into completely energetic fusions of sound and culture that does
nothing less than celebrate our various ethnicities.
His operas and orchestral works also showcase the masterful treatment of a musical language that is
unique and carries with it a contemporary style that allows for the use of modal scales, Feliciano’s
preferred tonality. The influence of bringing out the indigenous culture, particularly in sound, is strongly
evident in La Loba Negra, Ashen Wings, and Yerma. In his modest hymns, Feliciano was able to bring
out the Filipino mysticism in the simple harmonies that is able to captivate and charm his audiences. It is
his matchless genius in choosing to state his ideas in their simplest state but producing a haunting and
long-lasting impact on the listening soul that makes his music extraordinarily sublime.
Major Works: Ashen Wings (1995), Sikhay sa Kabila ng Paalam (1993), La Loba Negra (1983), Yerma
(1982), Pamugun (1995), Pokpok Alimako (1981)
Jovita Fuentes National Artist for Music (1976)

(February 15, 1895 – August 7, 1978)
Long before Lea Salonga’s break into Broadway, there was already Jovita Fuentes‘ portrayal of Cio-cio
san in Giacomo Puccini’s Madame Butterfly at Italy’s Teatro Municipale di Piacenza. Her performance
was hailed as the “most sublime interpretation of the part”. This is all the more significant because it
happened at a time when the Philippines and its people were scarcely heard of in Europe. Prior to that,
she was teaching at the University of the Philippines Conservatory of Music (1917) before leaving for
Milan in 1924 for further voice studies. After eight months of arduous training, she made her stage debut
at the Piacenza. She later embarked on a string of music performances in Europe essaying the roles of
Liu Yu in Puccini’s Turnadot, Mimi in Puccini’s La Boheme, Iris in Pietro Mascagni’s Iris, the title role
of Salome (which composer Richard Strauss personally offered to her including the special role of
Princess Yang Gui Fe in Li Tai Pe). In recognition of these achievements, she was given the
unprecedented award of “Embahadora de Filipinas a su Madre Patria” by Spain.
Her dream to develop the love for opera among her countrymen led her to found the Artists’ Guild of the
Philippines, which was responsible for the periodic “Tour of Operaland” productions. Her life story has
been documented in the biography Jovita Fuentes: A Lifetime of Music (1978) written by Lilia H.
Chung, and later translated into Filipino by Virgilio Almario.
Lucrecia R. Kasilag National Artist for Music (1989)

(August 31, 1918 – August 16, 2008)
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Lucrecia R. Kasilag, as educator, composer, performing artist, administrator and cultural entrepreneur of
national and international caliber, had involved herself wholly in sharpening the Filipino audience’s
appreciation of music. Kasilag’s pioneering task to discover the Filipino roots through ethnic music and
fusing it with Western influences has led many Filipino composers to experiment with such an approach.
She dared to incorporate indigenous Filipino instruments in orchestral productions, such as the prize-
winning “Toccata for Percussions and Winds, Divertissement and Concertante,” and the scores of the
Filiasiana, Misang Pilipino and De Profundis. “Tita King”, as she was fondly called, worked closely as
music director with colleagues Lucresia Reyes-Urtula, Isabel Santos, Jose Lardizabal and Dr. Leticia P.
de Guzman and made Bayanihan Philippine Dance Company one of the premier artistic and cultural
groups in the country.
Her orchestral music include Love Songs, Legend of the Sarimanok, Ang Pamana, Philippine Scenes,
Her Son, Jose, Sisa and chamber music like Awit ng mga Awit Psalms, Fantaisie on a 4-Note Theme,
and East Meets Jazz Ethnika.
Jose Maceda National Artist for Music (1997)

(January 31, 1917 – May 5, 2004)
Jose Maceda, composer, musicologist, teacher and performer, explored the musicality of the Filipino
deeply. Maceda embarked on a life-long dedication to the understanding and popularization of Filipino
traditional music. Maceda’s researches and fieldwork have resulted in the collection of an immense
number of recorded music taken from the remotest mountain villages and farthest island communities.
He wrote papers that enlightened scholars, both Filipino and foreign, about the nature of Philippine
traditional and ethnic music. Maceda’s experimentation also freed Filipino musical expression from a
strictly Eurocentric mold.
Usually performed as a communal ritual, his compositions like Ugma-ugma(1963), Pagsamba (1968),
and Udlot-udlot (1975), are monuments to his unflagging commitment to Philippine music. Other major
works include Agungan, Kubing, Pagsamba, Ugnayan, Ading, Aroding, Siasid, Suling-suling.
Antonio J. Molina National Artist for Music (1973)

(December 26, 1894 – January 29, 1980)
Antonio J. Molina, versatile musician, composer, music educator was the last of the musical triumvirate,
two of whom were Nicanor Abelardo and Francisco Santiago, who elevated music beyond the realm of
folk music. At an early age, he took to playing the violoncello and played it so well it did not take long
before he was playing as orchestra soloist for the Manila Grand Opera House. Molina is credited with
introducing such innovations as the whole tone scale, pentatonic scale, exuberance of dominant ninths
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and eleventh cords, and linear counterpoints. As a member of the faculty of the UP Conservatory, he had
taught many of the country’s leading musical personalities and educators like Lucresia Kasilag and
Felipe de Leon.
Molina’s most familiar composition is Hatinggabi, a serenade for solo violin and piano accompaniment.
Other works are (orchestral music) Misa Antoniana Grand Festival Mass, Ang Batingaw, Kundiman-
Kundangan; (chamber music) Hating Gabi, String Quartet, Kung sa Iyong Gunita, Pandangguhan;
(vocal music) Amihan, Awit ni Maria Clara, Larawan Nitong Pilipinas, among others.
Lucio D. San Pedro National Artist for Music (1991)
(February 11, 1913 – March 31, 2002)
Lucio San Pedro is a master composer, conductor, and teacher whose music evokes the folk elements of
the Filipino heritage. Cousin to “Botong” Francisco, San Pedro produced a wide-ranging body of works
that includes band music, concertos for violin and orchestra, choral works, cantatas, chamber music,
music for violin and piano, and songs for solo voice. He was the conductor of the much acclaimed Peng
Kong Grand Mason Concert Band, the San Pedro Band of Angono, his father’s former band, and the
Banda Angono Numero Uno. His civic commitment and work with town bands have significantly
contributed to the development of a civic culture among Filipino communities and opened a creative
outlet for young Filipinos.
His orchestral music include The Devil’s Bridge, Malakas at Maganda Overture,Prelude and Fugue in D
minor, Hope and Ambition; choral music Easter Cantata, Sa Mahal Kong Bayan, Rizal’s Valedictory
Poem; vocal music Lulay,Sa Ugoy ng Duyan, In the Silence of the Night; and band music Dance of the
Fairies, Triumphal March, Lahing Kayumanggi, Angononian March among others.
Ramon P. Santos National Artist for Music (2014)

Ramon Pagayon Santos, composer, conductor and musicologist, is currently the country’s foremost
exponent of contemporary Filipino music. A prime figure in the second generation of Filipino
composers in the modern idiom, Santos has contributed greatly to the quest for new directions in music,
taking as basis non-Western traditions in the Philippines and Southeast Asia.
He graduated in 1965 from the UP College of Music with a Teacher’s Diploma and a Bachelor of Music
degree in both Composition and Conducting. Higher studies in the United States under a Fulbright
Scholarship at Indiana University (for a Master’s degree, 1968) and at the State University of New York
at Buffalo (for a Doctorate, 1972) exposed him to the world of contemporary and avant-garde musical
idioms: the rigorous processes of serialism, electronic and contemporary music, indeterminacy, and new
vocal and improvisational techniques. He received further training in New Music in Darmstadt,
Germany and in Utrecht, the Netherlands. His initial interest in Mahler and Debussy while still a student
at UP waned as his compositional style shifted to Neo Classicism and finally to a distinct merging of the
varied influences that he had assimilated abroad.
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His return to the Philippines marked a new path in his style. After immersing himself in indigenous
Philippine and Asian (Javanese music and dance, Chinese nan kuan music), he became more interested
in open-ended structures of time and space, function as a compositional concept, environmental works,
non-conventional instruments, the dialectics of control and non-control, and the incorporation of natural
forces in the execution of sound-creating tasks. All these would lead to the forging of a new alternative
musical language founded on a profound understanding and a thriving and sensitive awareness of Asian
music aesthetics and culture.
Simultaneous with this was a reverting back to more orthodox performance modes: chamber works and
multimedia works for dance and theatre. Panaghoy (1984), for reader, voices, gongs and bass drum, on
the poetry of Benigno Aquino, Jr. was a powerful musical discourse on the fallen leader’s assassination
in 1983, which subsequently brought on the victorious People Power uprising in 1986.
An active musicologist, Santos’ interest in traditional music cultures was heretofore realized in 1976 by
embarking on fieldwork to collect and document music from folk religious groups in Quezon. He has
also done research and fieldwork among the Ibaloi of Northern Luzon. His ethnomusicological
orientation has but richly enhanced his compositional outlook. Embedded in the works of this period are
the people-specific concepts central to the ethnomusicological discipline, the translation of indigenous
musical systems into modern musical discourse, and the marriage of Western and non-Western sound.
An intense and avid pedagogue, Santos, as Chair of the Department of Compositiion and Theory (and
formerly, as Dean) of the College of Music, UP, has remained instrumental in espousing a modern
Philippine music rooted in old Asian practices and life concepts. With generation upon generation of
students and teachers that have come under his wing, he continues to shape a legacy of modernity
anchored on the values of traditional Asian music.
Andrea O. Veneracion National Artist for Music (1999)

(July 11, 1928 – July 9, 2013) Andrea Veneracion, is highly esteemed for her achievements as
choirmaster and choral arranger. Two of her indispensable contributions in culture and the arts include
the founding of the Philippine Madrigal Singers and the spearheading of the development of Philippine
choral music. A former faculty member of the UP College of Music and honorary chair of the Philippine
Federation of Choral Music, she also organized a cultural outreach program to provide music education
and exposure in several provinces. Born in Manila on July 11, 1928, she is recognized as an authority on
choral music and performance and has served as adjudicator in international music competitions.
Theater
Daisy Hontiveros Avellana National Artist for Theater (1999)
(January 26, 1917 – May 12, 2013) Daisy H. Avellana, is an actor, director and writer. Born in Roxas
City, Capiz on January 26, 1917, she elevated legitimate theater and dramatic arts to a new level of
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San Jose Branch
San Jose, Antique
excellence by staging and performing in breakthrough productions of classic Filipino and foreign plays
and by encouraging the establishment of performing groups and the professionalization of Filipino
theater. Together with her husband, National Artist Lamberto Avellana and other artists, she co-founded
the Barangay Theatre Guild in 1939 which paved the way for the popularization of theatre and dramatic
arts in the country, utilizing radio and television.
She starred in plays like Othello (1953), Macbeth in Black (1959), Casa de Bernarda Alba (1967),
Tatarin. She is best remembered for her portrayal of Candida Marasigan in the stage and film versions of
Nick Joaquin’s Portrait of the Artist as Filipino. Her directorial credits include Diego Silang (1968), and
Walang Sugat (1971). Among her screenplays were Sakay (1939) and Portrait of the Artist as Filipino
(1955).
Lamberto V. Avellana National Artist for Theater and Film (1976)
Lamberto V. Avellana, director for theater and film, has the distinction of being called “The Boy
Wonder of Philippine Movies” as early as 1939. He was the first to use the motion picture camera to
establish a point-of-view, a move that revolutionized the techniques of film narration. Avellana, who at
20 portrayed Joan of Arc in time for Ateneo’s diamond jubilee, initially set out to establish a Filipino
theater. Together with Daisy Hontiveros, star of many UP plays and his future wife, he formed the
Barangay Theater Guild which had, among others, Leon Ma .Guerrero and Raul Manglapus as members.
It was after seeing such plays that Carlos P. Romulo, then president of Philippine Films, encouraged him
to try his hand at directing films. In his first film Sakay, Avellana demonstrated a kind of visual rhythm
that established a new filmic language.
Sakay was declared the best picture of 1939 by critics and journalists alike and set the tone for
Avellana’s career in film that would be capped by such distinctive achievements as the Grand Prix at the
Asian Film Festival in Hong Kong for Anak Dalita (1956); Best Director of Asia award in Tokyo for
Badjao, among others.
Avellana was also the first filmmaker to have his film Kandelerong Pilak shown at the Cannes
International Film Festival. Among the films he directed for worldwide release were Sergeant Hasan
(1967), Destination Vietnam (1969), and The Evil Within (1970).
Salvador F. Bernal
Salvador F. Bernal designed more than 300 productions distinguished for their originality since 1969.
Sensitive to the budget limitations of local productions, he harnessed the design potential of inexpensive
local materials, pioneering or maximizing the use of bamboo, raw abaca, and abaca fiber, hemp twine,
rattan chain links and gauze cacha.
As the acknowledged guru of contemporary Filipino theater design, Bernal shared his skills with
younger designers through his classes at the University of the Philippines and the Ateneo de Manila
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San Jose Branch
San Jose, Antique
University, and through the programs he created for the CCP Production Design Center which he
himself conceptualized and organized.
To promote and professionalize theater design, he organized the PATDAT (Philippine Association of
Theatre Designers and Technicians) in 1995 and by way of Philippine Center of OISTAT (Organization
Internationale des Scenographes, Techniciens et Architectes du Theatre), he introduced Philippine
theater design to the world.
Honorata “Atang” Dela Rama National Artist for Theater and Music (1987)
(January 11, 1902 – July 11, 1991)
Honorata “Atang” Dela Rama was formally honored as the Queen of Kundiman in 1979, then already 74
years old singing the same song (“Nabasag na Banga”) that she sang as a 15-year old girl in the sarsuela
Dalagang Bukid. Atang became the very first actress in the very first locally produced Filipino film
when she essayed the same role in the sarsuela’s film version. As early as age seven, Atang was already
being cast in Spanish zarzuelas such as Mascota, Sueño de un Vals, and Marina. She counts the role
though of an orphan in Pangarap ni Rosa as her most rewarding and satisfying role that she played with
realism, the stage sparkling with silver coins tossed by a teary-eyed audience. Atang firmly believes that
the sarswela and the kundiman expresses best the Filipino soul, and has even performed kundiman and
other Filipino songs for the Aetas or Negritos of Zambales and the Sierra Madre, the Bagobos of Davao
and other Lumad of Mindanao.
Atang firmly believes that the sarswela and the kundiman expresses best the Filipino soul, and had even
performed kundiman and other Filipino songs for the Aetas or Negritos of Zambales and the Sierra
Madre, the Bagobos of Davao and other Lumad of Mindanao.
Among the kundiman and the other songs she premiered or popularized were Pakiusap, Ay, Ay Kalisud,
Kung Iibig Ka and Madaling Araw by Jose Corazon de Jesus, and Mutya ng Pasig by Deogracias
Rosario and Nicanor Abelardo. She also wrote her own sarswelas: Anak ni Eba, Aking Ina, and Puri at
Buhay.
Wilfrido Ma. Guerrero National Artist for Theater (1997)

(January 22, 1910 – April 28, 1995) Wilfrido Ma. Guerrero is a teacher and theater artist whose 35 years
of devoted professorship has produced the most sterling luminaries in Philippine performing arts today:
Behn Cervantes, Celia Diaz-Laurel, Joy Virata, Joonee Gamboa, etc. In 1947, he was appointed as UP
Dramatic Club director and served for 16 years. As founder and artistic director of the UP Mobile
Theater, he pioneered the concept of theater campus tour and delivered no less than 2,500 performances
in a span of 19 committed years of service. By bringing theatre to countryside, Guerrero made it
possible for students and audiences in general to experience the basic grammar of staging and acting in
familiar and friendly ways through his plays that humorously reflect the behavior of the Filipino.
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San Jose Branch
San Jose, Antique
His plays include Half an Hour in a Convent, Wanted: A Chaperon, Forever, Condemned, Perhaps, In
Unity, Deep in My Heart, Three Rats, Our Strange Ways, The Forsaken House, Frustrations.
Severino Montano National Artist for Theater (2001)

(January 3, 1915 – December 12, 1980)
Playwright, director, actor, and theater organizer Severino Montano is the forerunner in
institutionalizing “legitimate theater” in the Philippines. Taking up courses and graduate degrees abroad,
he honed and shared his expertise with his countrymates.
As Dean of Instruction of the Philippine Normal College, Montano organized the Arena Theater to bring
drama to the masses. He trained and directed the new generations of dramatists including Rolando S.
Tinio, Emmanuel Borlaza, Joonee Gamboa, and Behn Cervantes.
He established a graduate program at the Philippine Normal College for the training of playwrights,
directors, technicians, actors, and designers. He also established the Arena Theater Playwriting Contest
that led to the discovery of Wilfrido Nolledo, Jesus T. Peralta, and Estrella Alfon.
Among his awards and recognitions are the Patnubay ng Kalinangan Award from the City of Manila
(1968), Presidential Award for Merit in Drama and Theater (1961), and the Rockefeller Foundation
Grant to travel to 98 cities abroad (1950, 1952, 1962, and 1963).
Rolando S. Tinio National Artist for Theater and Literature (1997)

(March 5, 1937 – July 7, 1997) Rolando S. Tinio, playwright, thespian, poet, teacher, critic, and
translator marked his career with prolific artistic productions. Tinio’s chief distinction is as a stage
director whose original insights into the scripts he handled brought forth productions notable for their
visual impact and intellectual cogency. Subsequently, after staging productions for the Ateneo
Experimental Theater (its organizer and administrator as well), he took on Teatro Pilipino. It was to
Teatro Pilipino which he left a considerable amount of work reviving traditional Filipino drama by re-
staging old theater forms like the sarswela and opening a treasure-house of contemporary Western
drama. It was the excellence and beauty of his practice that claimed for theater a place among the arts in
the Philippines in the 1960s.
Aside from his collections of poetry (Sitsit sa Kuliglig, Dunung – Dunungan, Kristal na Uniberso, A
Trick of Mirrors) among his works were the following: film scripts for Now and Forever, Gamitin Mo
Ako, Bayad Puri and Milagros; sarswelas Ang Mestisa, Ako, Ang Kiri, Ana Maria; the komedya
Orosman at Zafira; and Larawan, the musical.
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San Jose Branch
San Jose, Antique
Internet Source: https://ncca.gov.ph
ACTIVITIES:
Answer the following questions.
1. How are the intangible arts distinct from the tangible arts?
2. Which significant contribution of national artists are still relevant or evident in
contemporary Philippine art?
3. What significant developments in the intangible arts are evident in the art in
your region? Identify one artwork in your region and explain.
4. Which local artist in your region, in your view, has contributed to the
development of the intangible arts? Explain his/her works and achievements.
5. How can you contribute in sustaining and developing the intangible arts in your
region?
***END***
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San Jose Branch
San Jose, Antique
WEEK 11
CONTENT: ART PRODUCTION
MOST ESSENTIAL LEARNING: APPLIES ARTISTIC SKILLS AND TECHNIQUES IN THE
PROCESS OF CREATION
Art production is part of any community’s way of life. It provides opportunities for processing daily
experiences. It translates shared experiences into various forms of communication using multiple media
forms such as sound, visuals, movement, and words. It provides markets of a community’s valued
experiences, consequently creating living repositories of knowledge for the next generation.
The United Nations Educational, Scientific and Cultural Organization (UNESCO) defines cultural
heritage as the legacy of physical artifacts and intangible attributes of a group or society that are
inherited from the past generations, maintained in the present, and bestowed for the benefit of future
generations. Artworks are part of a people’s cultural heritage because of their marked significance in
improving the people’s quality of life. The UNESCO refers to two types of heritage – tangible heritage
and the intangible heritage.
Tangible heritage includes buildings and historic places, monuments, artifacts, etc. which are
considered worthy of preservation for the future. These include objects significant to the archaeology,
architecture, and science or technology of a specific culture. Objects are important to the study of human
history because they provide a concrete basis for ideas, and people can validate them. Their preservation
demonstrates the recognition of the necessity of the past and of the things that tell its story. Preserved
objects also validate memories; and the actuality of the object, as opposed to a reproduction or surrogate,
draws people in and gives them a way to literally touch the past. This, unfortunately, poses a danger as
places and things are damaged by the hands of tourists, the light required to display them, and other risks
of making an object known and available.
Intangible Cultural Heritage refers to the practices, representations, expressions, knowledge, skills –
as well as the instruments, objects, artifacts, and cultural spaces associated therewith- that communities,
groups and in some cases individuals recognize as part of their cultural heritage. This intangible cultural
heritage, transmitted from generation to generation, is constantly recreated by communities and groups
in response to their environment, their interaction with nature and their history, and provides them with a
sense of identity and continuity, thus promoting respects for cultural diversity and human creativity. It
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San Jose, Antique
also includes traditions and human creativity. It also includes traditions or living expressions inherited
from our ancestors and passed to our descendants such as:
1. Oral traditions and expressions, including language, as a vehicle of the intangible cultural heritage;
2. Performing arts
3. Social practice, rituals, and festive events
4. Knowledge and practices concerning nature and the universe and;
5. Traditional craftsmanship
Artworks become valuable to a people because they embody significant episodes in a community’s
struggle for a better life. These comprise the region’s contribution in creating the mark of our nation.
Artwork serve as innovation in new-age communication, embodying ideas and commentaries through
their capacity to serve as symbols of valuable community experiences.
It is therefore imperative for a student of the arts to be mindful of factors affecting the development and
production of artworks. To guide us in our study, we shall go through our study of art production with
focus on the following concerns:
1. Physical appearance or form: “Ano’ng itsura? Or the art form’s physical appearance and materials
2. Systems of art production / Process of Art Production: “How is it done? Or “Paano ginagawa?
3. Social narratives and histories: “How did it happen?” or “Paano nangayari yun?”
4. Community valuation: “How significant is the work to the community?” or “Ano’ng halaga nun?”
PHYSICAL APPERANCE OR FORM: HOW DOES IT LOOK? (“ANO’NG ITSURA?”) Refers to
the physical appearance of an artwork, its shape and size, color and texture, sound and rhythm and
movement, and the materials which make up its appearance. Artwork take on particular molds, shapes,
and manifestations depending on available materials used and the medium of production employed in its
creation. It is therefore important to understand the value of the artwork’s physicality vis-à-vis the
materials employed in its creation to be able to appreciate the presence of art in our own community.
SYSTEMS OF ART PRODUCTION / PROCESS OF ART PRODUCTION: HOW IS IT DONE?
(“PAANO GINAGAWA?”) With the new introduction of new forms of artworks came new and fast-
evolving processes in art production. Also, the move to popularize art production has given rise to the
adaptation of new technologies in creating artworks which utilize local materials and local narratives.
New technologies have likewise given rise to new processes of art production and new forms of art.
Before, one had to go to exclusive theater spaces in order to watch performances. Now, one can take
part in a performance in ordinary spaces which have been transformed to become performance spaces.
School classrooms, churchyards, old factories, home, kitchens, bedrooms, living rooms, and gardens
have been used as performance areas. The dictum which says that a performance can be identified “for
as long as an actor-audience relationship exists” has gone a long way in developing new sites for
performances.
SOCIAL NARRATIVES AND HISTORIES: HOW DID IT HAPPEN? (“PAANO NANGYARI
YUN?’) Artworks exist alongside conditions which speak about how the works came about and what
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San Jose Branch
San Jose, Antique
circumstances were at play during their production. These narratives serve to illustrate the conditions
which helped shape the work. These conditions can be its purpose, function, or its reason for being.
Related incidents and narratives which have been passed on by word of mouth may also bring more
significance into the work. This area of inquiry can also be called its context or the conditions which
brought about the work’s existence.
COMMUNITY VALUATION: HOW SIGNIFICANT IS THE WORK TO THE COMMUNITY?
(“ANO’NG HALAGA NUN?’) Community experiences give birth to artworks, thus it is important to
identify their impact and how they are received by the people who are directly affected by these works.
Various works have been disseminated through direct trainings and various forms of media. However,
community valuation remains varied depending on its impact on the community’s urgent needs or its
functionality, its rootedness on regional life, and the longevity of its impact.
ART PRODUCTION: CULTURAL MAPPING
Sagisag Kultura (Celebrating Icons of Culture) Cultural mapping is more than a method for listing
down the cultural assets of a community. It is also useful tool for community engagement and
collaboration. For the purposes of art production, cultural mapping is understood to be the process of
identifying and stating, in a written or visual inventory, all cultural assets within a specific geographic
area. This includes the gathering of tangible and intangible assets from the community – including, but
not limited to, cultural organizations, artists, and stories. Cultural mapping provides an understanding of
culture, history, and a community’s unique identity that should be used at the beginning of any
community development or planning project, to create a list of potential partners, community resources,
and tools needed for its successful implementation. Input is sought from the community to guide the
development of a plan to create a map of community networks and assets.
The Sagisag Kultura (SK) ng Filipinas aims to gather, select, and promote the cultural icons of the
country, creating a database and registry of these symbols of Philippine culture. The cultural icons
include persons and heroes who are natural-born Filipino citizens, have important traits vital to the
country’s progress, and will serve as good role models for the Filipino youth. These include National
Scientists, National Artists, presidents, and heroes in Philippine history. They must be products of
Filipino imagination and intelligence which we can be proud of. Historical sites, native flora and fauna,
inventions, and important researches are also included.
ART PRODUCTION: ARCHITECTURAL SKETCHING, ARCHITECTURAL PAPER

MODEL, AND COLORING BOOK
Survey the architecture and built heritage of your own or city by conducting an architectural tour of your
immediate area. This activity will combine both the appreciation of the spirit of the place attributed to
the buildings and structures that make up the community, and the documentation of the experience of
architecture, city, or townscape through sketching and architectural mapping. Through these sketches
you can tell your own personal narratives of the place you live in and the places you visit.
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San Jose Branch
San Jose, Antique
As you navigate your place, be mindful of the beautiful structures and buildings that you encounter.
Identify the buildings which you can find interesting and aesthetically pleasing and study them. Draw or
take photos of the overall structure and take detailed shots of the unique features, architectural parts, and
ornamentation. Later, you will refer to these pictures or sketches when you identify the architectural
style.
Activity A. ARCHITECTURAL SKETCHING
1.List the buildings that you visited, and write down at least three facts about each. (When was it built?
By whom? What style was used?)
Name of Building Location Date of Owner Style
Construction
2. Describe any artworks or design elements you find, and explain the unique features each building has.
Name of Building Design Elements Notable Features
3. Explain your findings

a. Which building is your favourite? How does it make you feel?
b. What is the history of the building? How is this building relevant to the community?
c. How do the people in the community ensure the conservation and maintenance of the buildings?
d. How do these structures create a sense of space that is unique to your town or city?
e. Are these buildings a source of pride of place among its people? Does it make you feel proud about
your town and region? Explain.
ACTIVITY B. ARCHITECTURAL PAPER MODEL. From your extensive documentation of a
building on your locality you can create paper models. The techniques of construction can be researched
online. You can also take inspiration from downloadable samples of architectural paper models
produced by the National Commission for Culture and the Arts.
ACTIVITY C. COLORING BOOK. The sketches and line drawings of buildings and architectural
ornaments that you produced from your documentation can be used as a base image to produce coloring
books. Coloring books are no longer just for kid. In fact, adult coloring books are all the range right now
as researchers and art therapists alike have touted the calming benefits of coloring. Make a line drawing
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San Jose, Antique
on a piece of A4-sized bond paper. Your drawings will be compiled as a single volume with a cover
design with the title: “Hue Can Do My (Name of Town/City).
ART PRODUCTION: CREATING ALBUM ART artists and music producers use album art to
visualize what their music in the album wishes to convey to the listeners. Some artists use photos of
themselves or of places, while others go for more abstract design for their albums. After composing your
own song or creating your remix, create an album cover inspired by the song you created or mixed.
ART PRODUCTION: SCRIPT WRITING AND DEVELOPING A STORYLINE. The script is an
essential part of a performance. It lays out the narrative of the story, and what elements form and support
the story. This is the basis of how story would be presented, or become the jumping point from where
the story may be reimagined and adapted. In writing a script for a performance, the writer must think of
the following:
1. Setting: Where does the story take place? When does the story take place? Try to visualize the
qualities of the time and space involved in your story. Be as detailed as possible.
2. Characters: Who are the characters in the story? What makes these characters unique? How are they
related to the other characters of the story? What is the mission of the character in relation to the main
conflict of the story?
3. Plot/Sequence of Action: How does the story unfold? What are the key actions taken up by the
characters respond to the problem being addressed in the story? How does your narrative unfold –
chronological, flashback, episodic, dream sequence?
4. Conflict: What problem does the main character try to respond to? What course of action does he/she
undertake to respond to his main objective in the story?
5. Dialogue: How does the character speak his thoughts out? What kind of words does he use? Does he
speak his mind out or does he utilize silence to communicate? Does he use a song as dialogue or plain
words?
6. Directorial Instructions: Are there any specific things that the actor playing the characters have to do
as part of the sequence of action in the story? Write them down as well.
ART PRODUCTION: DESIGNING AN EXHIBITION

A curator is someone who develops the concept of the exhibition, writes, and interprets information
related to the objects. This activity will provide a guide to students in organizing an exhibit which will
showcase the works and output in the previous art production activities.
An exhibition tells a story to a visitor. It appeals to people through their senses using: 1) visual stimulus
2) other modes of perception, such as hearing, which is immediate and associative; 3) text and reading,
which require the most effort and mental processing.
SENIOR HIGH SCHOOL
San Jose Branch
San Jose, Antique
***END***

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Wright Technological College of Antique

SENIOR HIGH SCHOOL

MS. SHARRY V. GERONA

Ballet Philippines’ Opera Tanghalang Pilipino (Mabining Mandirigma)

Conceptual – focus on the idea, which can be either abstract or social

5. Pattern – is a repetition of specific visual elements, an arrangement of repeated or corresponding

 Cristina Sollesta Taniguchi (Dumaguete City)– is a champion of feminine aesthetic

DIRECTION: Write your answer in a one whole sheet of paper.

Singkaban or Bamboo Art – Singkaban is a local term for bamboo

Saniculas Cookie Mold Carvings (Pampanga) Saniculas cookies are

Pabalat or Pastillas Wrapper Cutting Art (Bulacan) The word

Taka (Laguna) Taka Making, A takaan, carved wooden sculpture,

Pagbuburda (Taal, Lumban, Laguna) The art of

Internet Source: slideshare: Local Materials to contemporary art by Mycz Doña

Visual Elements of Contemporary Architecture

the simple, restrained

Ishmael Bernal National Artist for Cinema (2001)

Gerardo “Gerry” De Leon National Artist for Cinema (1982)

Ronald Allan K. Poe National Artist for Cinema (2006)

Leonor Orosa Goquingco National Artist for Dance

Ramon Obusan National Artist for Dance (2006)

Alice Reyes National Artist for Dance (2014)

Lucrecia Reyes Urtula National Artist for Dance (1988)

(May 4, 1904 – January 25, 1996)

Levi Celerio National Artist for Literature / Music (1997)

Ernani Joson Cuenco National Artist for Music (1999)

Felipe Padilla De Leon National Artist for Music (1997)

Francisco Feliciano National Artist for Music (2014)

Jovita Fuentes National Artist for Music (1976)

Lucrecia R. Kasilag National Artist for Music (1989)

Jose Maceda National Artist for Music (1997)

Antonio J. Molina National Artist for Music (1973)

Ramon P. Santos National Artist for Music (2014)

Andrea O. Veneracion National Artist for Music (1999)

Wilfrido Ma. Guerrero National Artist for Theater (1997)

Severino Montano National Artist for Theater (2001)

Rolando S. Tinio National Artist for Theater and Literature (1997)

Internet Source: https://ncca.gov.ph

ART PRODUCTION: ARCHITECTURAL SKETCHING, ARCHITECTURAL PAPER

3. Explain your findings

ART PRODUCTION: DESIGNING AN EXHIBITION

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