UNIT V.

HISTORICAL DEVELOPMENT OF ART

Visual Arts

1. Pre – Historic Period (40000 BC to 4,000 BC)

The start of art history started during the Prehistoric Era, right before records were kept by
people. The first art came from the Paleolithic Era, or during the Old Stone Age. The known
forms of art during that era are rock carvings, pictorial imagery, engravings, stone arrangements,
and sculptures. The medium that they used in this period are pigments that come from nature
and stone carvings to come mostly representations of animals, objects and rituals that are seen
during the civilization’s existence. One of the most famous Paleolithic cave paintings were found
in the caves of Lascaux, France. Most of the cave paintings seen in the caves of Lascaux depicted
large animals and vegetation.

2. Ancient Period
Ancient art was produced by the civilized men who are considered more advanced than the
people during the prehistoric period. During this period, people have already established their
written language. The known civilizations during these times are Mesopotamian, Egyptian,
Grecian, and some of those Americans. The medium that they used for their artwork varied from
one civilization to another. But most likely, the art that they create served purposes. Some tell
their stories, some are decorated utilitarian objects like weapons and bowls, and some are
symbolic imagery that sometimes shows their social status. During this period, many of their
works depict the stories of their rulers, gods and goddesses. Mesopotamian civilization was the
one known to be the most famous creator during the Ancient Period. The artwork Code of
Hammurabi, which was created around 1792 B.C, contains the piece bears of the Babylonian set
of laws. It was carved in stone and adorned by the image of King Hammurabi. King Hammurabi is
the sixth king of Babylonia.

3. Medieval Period
Middle Ages, or also referred to as the “Dark Ages”, is the start of the cultural and economic
deterioration. This follows the fall of the Roman Empire. The artworks created during this time
mostly reflect darkness and are most distinguished by grotesque imagery and harsh scenery. The
focus of the artwork is centered on the Church. More sophisticated and decorated churches
emerged during the first millennium. Windows and Silhouettes were adorned because they
show scenes from mythology and biblical subjects. Illuminated manuscripts and Gothic
Architecture also emerged during this period. The influential art from the medieval period is the
catacombs in Rome and the Hagia Sophia in Istanbul. The best-known illuminated manuscript
during this period is the Lindisfarne Gospels while the most prominent gothic architecture during
the time was the Notre Dame Cathedral in Paris.
4. Renaissance Period
Renaissance art was represented by the focus on individualism and nature that can be seen
through their style in painting, decorative arts, and sculpture. The idea of individualism or the
thought of man as independent and self - reliant started during the late medieval period but
they flourished during the 15th and 16th centuries, parallel to the economic and social changes
because of secularization. The height of the Renaissance period reached Florence, Italy when the
 Medici family, a well - known wealthy merchant supported arts and humanism. Humanism is a
belief and philosophy that focus on the emphasis of the human realm. The key person during
this time is the Italian designer Filippo Brunelleschi and Donatello who is a sculptor. High
Renaissance produced influential artists such as Leonardo Da Vinci, Raphael, and Michelangelo.
Each of them brought the idea of emotional expression through artworks. Most of the artworks
during the Renaissance period were characterized by realism; it is focused on details and the
study of human anatomy. The linear perspective and they created depth using intense lighting
and shading.
5. Mannerism
The clash between the humanism and Christian faith gave way to what we call Mannerism.
Artists during this period emerged from the ideas of Raphael and Michelangelo. Their technique
and style outweighed the meaning of the subject matter. Most of the figures had graceful, small
limbs, elongated limbs, stylized features, and exaggerated details. This gives way to more stylized
and complex compositions rather than depending on the classical ideals of united composition
and linear perspective used by Renaissance predecessors. The most famous Mannerist includes
Giorgio Vasari, Domenica Beccafumi, and Francesco Salviati. One of the great Mannerist painters
in Florence during his time is Bronzino.
6. Baroque Period
The yielded ornate, extreme visual arts and architecture are known as the Baroque Period. This
period is distinguished by richness and grandeur, punctuated by an interest in widening the
human intellect and discovery. Artists during this period were known to be stylistically complex.
Paintings during this period portrayed by drama. Most of the painters used intense contrast
between the dark and light and had extreme compositions paired by rich color palettes. The
known artists during this time were Caravaggio and Rembrandt.
7. Rococo period
Paris is the origin of the Rococo Period. This period encompasses decorative art, architecture,
painting, and sculpture. The aesthetic brings a softer style of decorative art compared to
Baroque vivacity. This period is characterized by elegance and lightness, focuses on the use of
asymmetrical designs, natural forms, and subtle colors. The style is easily translated to porcelain,
silver, and French furniture. Armoires and chairs that show curving forms, floral design, and
expressive use of gilt. The artworks of Antoine Watteau and Francois Boucher used lighthearted
treatments, fresh colors, and brushwork.
8. Neoclassicism
The neoclassical period came from the elements of the classical age. The artworks that were
discovered from the civilization of Athens and Naples reignited the passion for the things in the
past, and artists strove to recreate the works of ancient art. Neoclassicism renewed the interest
of artists in classical ideals of harmony, proportion, and simplicity. The focus of the artists was on
Idealism. They included modern and historically relevant depictions in their artworks. An
example of this is the Italian sculptor, Antonio Canova. His works are based on the classical
elements that are shown in his marble sculptures.
9. Romanticism
This period embodied a large range of disciplines, from painting, to literature, to music.
Romanticism presents the ideas that reject order, rationality, and harmony, which were
embraced during classical art and Neoclassicism. Artists during this period emphasized the
 imagination and individuality. The appreciation for nature was also a romantic ideal. Plein Air
painting brought artists from dark interiors on closed spaces to painting outside. They focused
on passion, sensation, and emotion rather than reason and intellect. Henry Fuseli is a known
Romantic painter because he created a strange, macabre painting that depicts dark recesses of
Human Psychology. Another known Romantic artist is William Blake, who wrote mysterious
poems and images that conveyed his disappointment and mystical visions in societal constraints.

Contemporary Arts

The beginning of contemporary art started during the 1970s. This extends through the present day.
Some of the contemporary art depicts artworks that are related to skepticism, philosophical critiques,
and irony. Some are answers to societal issues like feminist art and street art or known as the graffiti-like
art. Art in this period used to express thoughts and opinions and purposely showed to the public. The
wide use of the World Wide Web is also dominant during contemporary art, they are known as digital
art. Wherein artists use the infusion of camera, art and technology to create different Pity, colour print
finished in pen and watercolour by William Blake, 1795; in the Tate Collection, London. Psyche Revived
by Cupid's Kiss by Antonio Canova; 1787; Louvre Painting ‘Masdibyo Aku Kapok!! (Menangkap Koruptor)
‘, series of paintings’ ‘Koruptor Dibuang ke Laut Diadili Ikan Laut Dalam’. 60 artworks. The mediums that
they use are computers, audio, visual software and pixels.

Music

Pre-historic Period

The prehistoric period was the oldest known song traced back to 4,000 years ago. Man during this time
imitates the sounds around him by using their hands, voices, and feet. Through time, they created new
rhythms and sound by using tools or beating sticks against rocks and trees. They also learned that they
could make sounds using their mouth through humming, whistles and singing. When they began to
repeat those tones and sound pattern. That is known as pattern songs. When they created patterns
songs, they also began to make special tools to make sounds, and that’s what we now call instruments.
One of the oldest instruments is the flute. Flute during prehistoric periods was created from the hollow
bone of a bear.

Medieval Period

The Medieval period was focused on Christianity, because of this, songs during this period was about
God and worship. The music was only made up of one melody line with no background music. This is
called Monophony. Monophonic songs are referred to as Gregorian chants, it is named after Pope
Gregory, the leader of the Christian Church during the medieval period. Polyphony was created during
the later stages of the medieval period. Polyphony is two melodic lines heard at the same time and it is
sung or played in harmony.

Renaissance Period

This is known as the period wherein the great change in music happened. During this period, musicians
are freer to create and show their individual style in creating music and arts. Although, church music or
sacred music was the most popular music at that time. Also, during the Renaissance period, new
instruments were introduced and became very popular, lute and clavichord. When printing technology
developed during this time, musicians were allowed to write music and make it available to a large
crowd.

Baroque Music

Baroque was used to describe a style that followed the renaissance in European music, it means
“strange” or “excessive”. During this time, music became more complex and difficult. The music contains
more than one melody that can be harmonized or clash with others. The most popular instrument
during the Baroque period was the recorder. Composers during this period use soft, loud, slow, and fast
tones to make the audience understand the story or feel the emotion. Secular music began to be
popular, and they invented the orchestra and opera during this time. An orchestra is the group or
ensemble of musical instruments playing music together. Opera is a story with drama representation that
is set to music. The most prominent musicians during this time were Vivaldi, the composer of four-
season concertos, and J.S Bach, the maker of many of the present’s composing techniques.

Classical Period

This period in music lasted for 70 years; and during this time, there have been many changes in music.
During the classical period, they applied strict rules in music composition and sounds were restrained
and balanced. Harmony became popular during this period; this is defined as music that has one melody
and background music. The father of the symphony and string quartets is Joseph Haydn. He is also
known as the most influential composer during this period. The classical period introduces a lot of new
instruments like the flute and clarinet. They also added instruments to the orchestra and new types of
songs and musical compositions. The most prominent composer during this period is Wolfgang Amadeus
Mozart. He composed more than 600 symphonies, concertos, and others.

Romantic Period

This period reflected the social and political changes around the world. Musicians and composers during
this time experimented which their music and they showed their individual creativity. The dominant
feature of music during this period is Melody. They used melodies to express nationalism, a show of
loyalty to a group of people or to a country. During this period, orchestra and opera were continually
making a large influence in the society. They introduced a new sound to the audience and virtuosos or
people who are very skilled in performing became popular. The most admired virtuosos are pianists,
singers, and violinists. The most controversial virtuoso during this time is Franz List, a Hungarian
composer who played piano very well. He played piano with so much emotion, that many people
believed that women in the audience would faint while listening to him. Ludwig Van Beethoven became
known during this period, and he is considered as one of the greatest composers of all time. Pianoforte
was invented during the Romantic Period

Modern Music

20th-century music is all about going against tradition or rebellion. Mid – 20th-century music style was
Rock and Roll, Jazz, and Country. It became popular around the world. Recorded music became available
in every style. This made the music available to everyone and made music listening more popular than
ever. During the 20th century, technology has played a vital part in the evolution of music. Electric guitar
and keyboard were introduced. The use of computers has had a huge impact and influence on music
styles now a day because it allows musicians and composers to manipulate sounds.

UNIT VI. SOULMAKING, APPROPRIATION, AND IMPROVISATION

APPROPRIATION

Cultural appropriation

Cultural appropriation happens when an artist borrows ideas, motifs, plots, technical devices, etc. from
another culture to which he/she does not belong.

o as a concept, cultural appropriation is bound to moral and aesthetic questions

o However, the term cultural appropriation should be understood depending on the narrative context
and the perspective.

o History and power relations are important considerations when morally evaluating an instance of
cultural appropriation.

Types of cultural appropriation

 Object appropriation – tangible work of art is appropriated. It occurs when the possession of a
tangible work of art (such as a sculpture or painting is transferred from members of one culture to
members of another culture.

 Content appropriation – intangible work is appropriated Content appropriation happens when an

intangible object (a musical composition, story, or poem) is reused and expressed in a work by an artist
outside the culture from which it originated.

 Style appropriation – stylistic elements are appropriated. Style appropriation occurs when stylistic
elements common from one culture are taken and expressed by an artist who belongs to another
culture.

 Motif appropriation – motifs are appropriated Motif appropriation occurs when motifs from one
culture are taken and expressed by an artist who belongs to another culture. Tattoo motifs are often
appropriated Tattoo motifs can be appropriated without knowledge of where these are coming from,
and what important symbolic meaning they have for the culture from which they are taken.

 Subject appropriation- another culture or come of its people is appropriated. Subject appropriation
occurs when subject matter, namely another culture or some of its members, is represented by an artist
who belongs to another culture in his/her work.

 The problem with Bagani (Ching. 2008)

o What does Bagani mean?

“Warrior chief” – mandaya

“Warrior priest” – manobos

“The Bagani is not recruited but anointed by Mondaangan, (a revered spirit) and is sacred to the
Manobo peoples.”

o So when you use the term Bagani for a teleserye that is devoid of historical and cultural context, you
are lambasting the memoirs and integrity of our warriors. o Cultural appropriation: when is it
problematic? Some acts of cultural appropriation can be considered ad theft. Cultural appropriation
could harm members of culture by misrepresentation, thereby producing discrimination and inequality
in terms of economic, educational, or other opportunities.

 Reasons why BAGANI appropriating the culture of indigenous people and the cultural heritage of the
country.

o There was a scene when Enrique Gil’s character “Lakas” presumed dead, and a healer (babaylan)
named Gloria recites a chant that is not suited for the indigenous people culture

o “mekeni mekeni tugtug do re mi” a chant that heal the character of Enrique Gil as “Lakas” in which
some experts see this an embarrassment to the indigenous heritage. This might affect for the
imagination of a child which is based fiction rather than facts.

o This cultural appropriation might lead to misinterpretation and exploit of the cultural heritage of the
indigenous people.

 Why do artists appropriate?

o Morally sound cultural appropriation can lead to the production of valuable works of art.

o for example, Akira Kurosawa borrows from Shakespeare; classic literary pieces and incorporates them
into their work.

o the arts and culture are dynamic. Cultures naturally interact with each other.

o the complete banning of cultural appropriation will lead to cultural stagnation.

o Nevertheless, sensitivity and care should be exercised when appropriate from another culture.

IMPROVISATION

What is improvisation?

Improvisation highlights creativity, immediacy, innovation, and spontaneity as part of its product and
activity. Improvisation exists not only in the arts but in many other fields. It is more likely innate in art
because in art you need to make an alternative to make the artwork more aesthetic. In a general sense,
improvisation is spontaneous, unplanned, or otherwise free-ranging creativity. Certain performances or
products of artistic activity are referred to as improvisations when they have been produced in a
spontaneous originative way.

Philippines and improvisation

The Culture of improvisation in the Philippines (Antolihao, 2004)

 Since the Philippines is situated in the “Typhoon Belt” and the “Pacific Ring of Fire,” natural calamities
are a common occurrence.

 Filipinos have learned to be resilient, resourceful, and innovative.

 A house that was built over the years can be easily destroyed in one night, thus our early ancestors
never erected permanent residential structures.

 The structures constructed were adaptable, something that could be built and rebuilt in a short period
of time.

An example of cultural improvisation is the bahay kubo (nipa hut)

 Bahay kubo is common as a house in the country because of its versatility and easy to construct most
of the house in the rural community consists, a bahay kubo.

 Geography and climate, available natural buildings, materials, and local construction skills influenced
the design and construction of the bahay kubo.

 When peasants move to the city, they bring with them their ability to make use of whatever is
available.  In the urban setting, the bahay kubo evolves into a barong-barong.

 Like the bahay kubo, the barong-barong is built with speed not only to avoid unfavorable weather, but
also to evade landowners and authorities.

 Rebuilding of the barong-barong is just as easy once it is damaged by natural calamities, or in most
cases, destroyed by demolition drives.

Dance Improvisation

Dance Improvisation makes use of the body as the center of experience (Khulmann, 2004). All
experiences are made through our bodies. The body is the focus and experience and perception.

History of dance improvisation

As a postmodern art form that developed in the 1950s, it is reflective of itself. Thae Improvisational
performance examines the body as the medium of art in the form of dance. It puts into question what
the boundaries of dance performance are.

Theater improvisation

What is An Improv Theater? (Rappler, 2017)

Improv is a form of theatre and performance where everything is unrehearsed and unscripted. All the
scenes and stories are created on the spot. Silly People’s Improv Theater (SPIT) is an improv theater
company that originated in the Philippines in 2002. Third World Improv offers classes in improv.
Principles of Improv

 “Yes, and….” This pertains to the acceptance of the situation or idea, no matter how weird it is, and
build on it.  Making your partner look good - this means putting your partner in the best light possible.
 “walang Laglagan.” - This builds an atmosphere of trust and support so the team can work together
harmoniously.

 Be average - This means never hogging the spotlight, or talking over other improvisers, or pressuring
yourself to be brilliant all the time. It means just doing your part genuinely and honestly, letting the
scene take off on its own.

 Active listening is the only way to move any story on stage forward if you pay attention to what your
scene partner is saying.

 Everything is a gift on an improved stage, everything said or done is an offer if the performer chooses
to accept it. If he/she is listening actively enough, there are openings to create everywhere – be it
creating drama, comedy, or intrigue.

Improv vs. stand-comedy

 Stand up is scripted; done alone, and the material and jokes that comedians hone to perfection.

 Improv has structures but the content is always on the spot and unscripted. It is also often done with at
least two people, often with a group.

 Certain performances or products of artistic activity are referred to as improvisations when they have
been produced in a spontaneous originative way.

 Improvisation is part of Filipino culture.

SOUL-MAKING

What is soul - making?

Soul – making is a form of crafting stories that transforms brief moments into images. Most of the time it
uses symbols to connect with people. It is also used in understanding culture and embodied tolerance
and peace. Imagination plays a major role in art production. One of the major roles of soul - making in
art is it portrays the content of every art that has been made, particularly its story. It somehow expresses
your feeling in art, and it delivers your emotion through art. Noy Narcisso applied the psychological
concept of “soul - making” in his art practice. It is about crafting images derived from a person’s
experience expressed through any form of art.

What is “soul?” (Hillman, 1997) “By soul I mean, first, a perspective rather than a substance, a viewpoint
toward things rather than a thing itself. This perspective is reflective; it mediates events and makes
differences between us and everything that happens.” “Between us and events, between the doer and
the deed, there is a reflective moment – and soul - making means differentiating this middle ground.”
This perspective creates another definition on how we see the content of and art and how the artist
expresses his thoughts in making artwork through his experiences. It puts importance in nourishing
particular experiences to allow us to understand our humanity by being more considerate and have an
appreciation of life.

Da Vincian Principles

 Who was Leonardo da Vinci? (Gelb, 1999)

 Leonardo da Vinci is considered the Renaissance man who excelled in art, mathematics, architecture,
philosophy, Military planning, Etc.

 What are the Da Vincian Principles? (Gelb, 1999)

 Michael Gelb captured the development of how Leonardo da Vinci thinks of his artwork and how Da
Vinci thinks deeply to create the soul of his artwork.

 These were characteristics traits of Da Vinci Based on Studies of his Archives.

What are the Da Vincian Principles? (Gelb, 1999)

 Curiosita is an insatiably curious approach to life and an unrelenting quest for continuous learning.
These are intended for the people to think about their expected output in art. It is the first step to
creating artwork.

 Dimostrazione is a commitment to test knowledge through experience, persistence, and willingness to

learn from mistakes. Some artwork has been based on the experiences of the artist.

 Sensazione is the continual refinement of the senses, especially sight, as the means to enliven
experience. This is your ability to produce your artwork.

 Sfumato is the willingness to embrace ambibuity, paradox, and uncertainty. In this time, artist might
not recognize on his work by the people, but it is part of the journey to become as genius as Leonardo da
Vinci.

 Arte/Scienza is the balance between science and art, logic, and imagination.

 Corpolita is the cultivation of grace, ambidexterity, fitness, and poise.

 Connessione is a recognition and appreciation for the interconnectedness of all things and
phenomena.

These principles are what we can apply when we are approaching our contemporary times of turmoil
and struggle. Through these principles, we can become reflective of how we live through the
contemporary digital age. The Soul is a perspective, not an essence that each person possesses. Soul -
making is about crafting images derived from a person’s experience expressed through any form of art.

PHILIPPINE TEXTILE ART

Some years back, Philippine traditional weaving practices and colorful indigenous textiles were put into
the spotlight when it was put on permanent exposition at the National Museum through the exertion of
Sen. Loren Legarda. Entitle, "Hibla ng Lahing Pilipino: The Artistry of Philippine Textiles," the discussion
highlighted the distinct creativity and DNA of the people among other cultures through the fabric.
(Soralla, 2017). Eventually, the exposition was graced by Queen Sofia of Spain, Paolo Zegna of
Ermenegildo Zegna, and Lady Lynn Forester de Rothschild, among many others, and continued to gain
popularity. However, it not only rested on the museum but was patronizing further on malls when
Rustan's chairman and CEO Nedy Tantoco companioned with the senator. Filipino artistry and creativity
are apparent in various art forms. What makes the weaving culture novel is its power to unite people as
strong, resilient communities bound by living tradition and colorful textile patterns and motifs.
PINILIAN

 Community: Ilocano

 Origin: Ilocos Region

 The Ilocano of northwestern Philippines is famous for their handweaving, a tradition with ancient roots
 Capas or cotton as the primary material.

 They supply the pedal loom, locally called pangablan; employ different weaving techniques, and have
numerous designs/patterns.

 There are two kinds of pinilian: sparse and continuous supplementary weft techniques. The weavers of
Pinili, Ilocos Norte, are mentioned to be adept in the concurrent warp, and weft-float type of civilian
called the impalagto, a technique unique in the town.

BONTOC WEAVE

 Community: Bontoc

 Origin: Mountain Province

 The Bontoc textile turns around centeredness, which symbolizes permanence, order, and balance, key
factors in the life of the Bontoc people. Weavers teach this idea through the direction of their weave,
from the edge to the middle, to the cloth construction's symmetry and the repeated warp-striped
design.

 Because of the complex method of adding the kan-ay, the center panel would be woven last. When all
the components are ready, they would be sewn jointly in the reverse order of their creation, and it ends
with the langkit.

BONTOC WEAVE

 Community: Bontoc

 Origin: Mountain Province

 The Bontoc textile turns around centeredness, which symbolizes permanence, order, and balance, key
factors in the life of the Bontoc people. Weavers teach this idea through the direction of their weave,
from the edge to the middle, to the cloth construction's symmetry and the repeated warp-striped
design.

 Because of the complex method of adding the kan-ay, the center panel would be woven last. When all
the components are ready, they would be sewn jointly in the reverse order of their creation, and it ends
with the langkit.

PIÑA

 Community: Aklanon

 Origin: Aklan
 Considered the refined of Philippine textiles, the piña fabric is made from the fibers of the leaves of the
red Bisaya pineapple through an arduous process. The extraction of the tissues is the most delicate and
tedious process.

 The leaves provide two kinds of fibers: the Bastos, the coarse thread, the liniwan, or the fine cotton. a
shard of Chinese porcelain usage, the stripper eliminates the leaf's epidermis, exposing the lustrous
bastos fiber. After taking down the rough textures' sheets, the stripper then runs a coconut shell on the
inner layer of the leaf to expose the liniwan.

 The Aklanons of western Panay Island are famous for the piña with inlaid supplementary weft designs
or more often embroidered with floral or vegetal designs on the lattice ground. Lumban in Laguna and
Taal in Batangas have known embroidery centers. Piña is the common material for the barong Tagalog.

HABLON

 Communities: Kiniray-a and Hiligaynon

 Origin: Panay Islands

 Hablon is Hiligaynon word for "something woven," comes from the root word habol, "to weave." It
specifies the hand-woven fabric by Kiniray-a and Hiligaynon weavers.

 In a Panayanon myth, ten datus from Borneo landed on Panay Island, firm settlements, and ushered in
an era of development. One of the legendary statues was Datu Lubay, who is said to have introduced the
art of weaving textiles.

 The hablon is usually a plain cloth and has plaid and striped patterns. It is normally used for the
patadyong, the Visayan wraparound skirt, and panuelo.

SAPUTANGAN TAPESTRY WEAVE

 Community: Yakan

 Origin: Basilan

 famous for being highly skilled, with impressive weaving repertoires, Yakan weavers produce textiles
with five variants of weaving, often differentiated by technique, pattern, and function.

 Bunga-same is also weft weave, made using pattern sticks or heddles in the loom to produce the
pattern. A warp-floating design characterizes the colorful striped siniluan

 Saputangan is a square thread best known for its intricate and rich design, involving optical illusion to
create depth in the patterns.

 The saputangan is an example of a tapestry thread. It is known as the oldest and most traditional
technique in producing ornamented woven textiles, aside from the plain weave technique wherein
stripes and plaids are formed.

MABAL TABIH

 Community: Blaan
 Origin: Sarangani and South Cotabato

 Tabih, in Blaan, known to the native tubular skirt and the textile, while mabal means "woven" or "to
weave." The Blaan thread the tabih using abaca fibers and the backstrap loom. The thread is dyed using
the warp tie-dye resist ikat method and natural dyes from endemic plants. Designs usually illustrate
crocodiles and tiny curls.

 The Blaan are famous to be accomplished embroiderers, and the tabih is commonly meticulously
embellished with embroidery. A skill traditionally reserved to women of high status, threading has a
huge spiritual context in Blaan society, think to be the gift from Furalo, the goddess of weaving. Aside
from the tubular skirts, the abaca fabrics is used for making a clothing for men, as well as covering for
essential materials such as knives.

BAGOBO INABAL

 Community: Bagobo Manobo

 Origin: Davao del Sur

 The Bagobo, a little group of the Manobo, are experts in extracting the abaca fibers from the leaf
sheaths and selecting the very fine ones for weaving their textiles.

 They use the backstrap loom for weaving inabal abaca fiber textiles with ikat-or tiedyed resist designs
forming mother-and-baby crocodile figures in geometricized abstracted forms.

 Beeswax, which is used to the beater during the weaving process, adds to the sheen during the
finishing procedure. The Bagobo textile is commonly used for creating the native tubular skirt, of which
there are two types, sinukla, and the bandira.

DAGMAY

 Community: Mandaya

 Origin: Eastern Mindanao

 The Mandaya, which can be form in the provinces of Davao Oriental, Davao del Norte, Compostella
Valley, Surigao del Sur, and Agusan del Sur, have a strong weaving tradition as seen in their coarsely
textured dagmay, hand-woven using a special kind of backstrap loom, produced from abaca fibers, and
following ellaborate designs revolving around man and nature, especially the crocodile.

 Dagmay patterns usually tell the story about the weaver and her community and the spirits that live on
Earth. The dagmay is traditionally used for women's skirts, but it is also used as blankets or wraps for the
dead.

MARANAW TEXTILE

 Community: Maranaw

 Origin: Lanao del Norte and Lanao del Sur

 The Maranaw of Lanao del Norte and Lanao del Sur knew a wide range of weaving techniques
including the weft and warp ikat tie-dye resist and continuous and discontinuous supplementary weft
design.

 They are known for the malong, a tubular lower clothing. Among its several types, the malong a andon
is the most highly valued. This is followed by the malong a landap known for its tapestry bands called
langkit, often used to join the large panels of silk together. Another kind is the malong a bagadat, made
from similar wide groups in contrasting colors and separated by narrow bands of warp ikat. PIS SYABIT

WEAVE

 Community: Tausug

 Origin: Sulu Archipelago

 The Tausug women are proficient in tapestry weaving and embroidery, while men do the large
hangings in appliqué. They specialize in the production of pis syabit (headscarf) and kambot/kandit.

 Men and warriors traditionally wear the pis syabit. A most complicated design skill, the pis syabit
tapestry weaving of Tausug, has no preset pattern sticks or predesigned warp yarns into which the
weaver inserts the desert yarn.

 The weaver must imagine the pattern in her mind as she inserts one colored weft yarn one at a time to
fill up space in the warp, in a sequence her mind only knows. The weaver produces a perfectly
symmetrical composition of squares and Xs with hooks and seven to eight colors.

T’NALAK

 Community: Tboli

 Origin: South Cotabato

 The Tboli women weaved the traditional textile, t'nalak symbolizes birth, life, union in marriage and
death, and shows the indigenous group's uniqueness and identity. It is often utilized as blankets and
clothing and worn in royal wedding ceremonies on rare occasions.

 The Tboli weavers are known "dream weavers," but this applies only to a few dedicated weavers. It is
known that the designs and patterns are bestowed on them by Fu Dalu, the abaca's spirit, through their
dreams.

 The tedious design of the t'nalak starts with extracting the abaca fibers, which are then combed to
remove the sap. They are associated from end to end and knotted and prepared for a design before
resist-dyeing, known as the ikat method.

 A t'nalak traditionally has three colors: black, red, and white. The thread is then woven using the
backstrap loom. The fiber is then washed in the river, beaten with a wooden stick to flatten the knots,
and burnishing the surface with a cowrie shell.

 Filipino fabrics are experiencing something of a resurgence. As of late, entrepreneurs and designers
have been incorporating them in everything from bags and laptop cases to shirts, skirts, and even gowns.
It isn't hard to see the appeal of ethnic fabrics (Guttierez, 2017)
Ukkil of the Sulu Archipelago

The traditional decorative arts of Sulu Archipelago use design motifs and symbols widespread in
Southeast Asia. These motifs may be used to many wealth items for personal purposes like garments,
jewelry, and weaponry (exchanged during wedding ceremonies). Most meanings of the Ukkil are deeply
rooted in Hindu – Islamic traditions and ancient beliefs. Ukkil are most important to the Tausug, Samal,
badyaw and Jama Mapun, of the Sulu Archipelago. The design representations are flora and fauna from
the environment.

There are 3 types of Ukkil motifs.

1. Sumping (floral) – these are conventional motifs embroidered on garments, wall coverings, and
canopies, which usually includes, sampaka (grangipani) and the sumping kayapu’ (lotus flower).

2. Birdo (tree palnt) – these are curvilinear foliate design associated with fertility or prosperity and
symbolic of life and paradise in Sufism. Artists employ at random a variety of stylized dahun (leaf) and
bagun (vine) to compose a birdo pattern.

3. Hashas (serpent) - it is universally including snakes, dragons, and aquatic animals like fish, eel, dolphin,
lizard and crocodile. Portrayal of these exotic creatures in the arts and oral tradiations of Muslim Filipinos
shows fascination with the serpent, especially its saringa (dragon) form. Serpent motifs symbolize water,
virility, fertility and royal power. These are typical embellishments on prow, sidings, crossbeams, eaves,
and even the pulleys of old watercrafts.

PHILIPPINE FOLK ARCHITECTURE

Folk Architecture –these are simple structures built of local materials and available tools to provide
shelter for its inhabitants.

BAHAY KUBO (NIPA HUT)

 It is also known as kamalig

 It serves as an icon for Filipino lowland and rural culture.

 It is made up of bamboo rods and bamboo mats or sawali, and a thatched roof made up of anahaw or
nipa.

BALE OR IFUGAO HOUSE

 It is a one-room house with an attic for storage.

 The exterior of the home looks like a pyramid resting on four posts

 The interior is enclosed by slanting walls and ceiling that appears to be spherically formed by the loft.

IVATAN HOUSE IN BATANES

 Most of the house is built with limestone walls and cogon roofs.

 It has narrow doors and windows with wooden shutters and often secured by wooden bars.

TOROGANS OR MARANAO’S HOUSE

 It means "a place to sleep."

 It is a stately house for the elite members of the Maranao tribe in Mindanao.

 It is a symbol of status in leadership.

 It also serves as a courthouse, hall for community meetings, and its courtyard as rituals areas for
weddings.

BADJAO’S STILT HOUSES AND HOUSEBOATS

 The strong platform is made on both ends of the boats.

 The kitchen is usually found at the back.

 Its foundation is carefully placed in between coastal rocks and corals.

THE LEAN-TO

 A portable house built by the Aetas

 It is a tripod base house where the Aetas could carry away their home when they were hunting
animals.

HISTORICAL DEVELOPMENT OF PHILIPPINE ART

PERIODS IN PHILIPPINE ART

1. NEOLITHIC AGE, METAL AGE

a. Angono Petroglyphs

 One hundred twenty-seven human figures scattered on the wall were made by engraving lines using a
piece of stone on the surface of the rock shelter.

 These are symbolic, not decorative.

b. Manunggul Jar

 Found in Manunggul Cave, Lipuun Point, Palawan, dates to the late Neolithic Period, about 890-710 BC.

 On top of the jar cover is a boat with two human figures representing two souls on a voyage to the
afterlife.

c. Anthropomorphic Pots

 These are earthenware pots found in Ayub Cave, in Sarangani Province.

 Each of the 29 jar covers found in the site was unique.

 These were used to cover secondary burial jars.

2. PLUTOCRATIC PERIOD

a. Banton Cloth
 This was the earliest known warp ikat (tye-resist dyeing) textile in Southeast Asia.

 This is found in a wooden coffin that also contained blue and white ceramics in Banton Island,
Romblon. b. Chieftains and Sultanates

 Multiple Chieftains and Sultanates existed in the Philippines prior to the arrival of Spanish
conquistadors.  Pottery, textile, weaving, wood carving, and metalwork are among the earliest artistic
expressions.

 Domestic architecture and shipbuilding are also among the utilitarian yet artistic endeavors of early
Filipinos.

c. Butuan Ivory Seal

 An ivory stamp seal associated with a shell madden dated 9th-12th century was found in Libertad,
Butuan City in Agusan del Norte.

 Inscribed in the seal is the word “Butban” presumed to the Butwan since “w” and “b” were used
interchangeably then.

d. Tattoo Art

 The Spaniards called the Visayans “pintados” because they were covered with tattoos all over their
bodies.

 Tattoos a symbol for male valor only applied after winning battles.

 A full body tattoo is like armor.

 A man covered with tattoos all over the body intimidated enemies as well as townsfolk.

 As time progressed, our perception of tattoos changed.

3. PRE-HISPANIC PERIOD

a. Balangay (Balanghai) Or Butuan Boat

 An edged-pegged plank type of boat

 Hard wood like doongon was used to create the plank.

 The balangay can seat 25 people.

 Built to withstand long-distance voyages.

 These prehistoric boats were uncovered in Butuan, Agusan Del Norte in 1978

b. Bulol or Ifugao Rice God

 A carved human statue wherein a certain class of anito is said to incorporate itself when worshipped.

 Usually placed in the house or granary and are commonly made in pairs.
 Believed to contain spirits capable of ensuring abundant harvests, increasing rice yields, and protecting
them against catastrophes.

 Carved from red sandalwood and narra trees believed to be lucky.

c. Lingling-O

 Kind of ear pendant made from green nephrite(jade)

 A ring with a slit in one side to fit the pierced earlobe.

 Double-headed pendant found in Duyong Cave of Palawan is one of the finest jade ornaments found in
the Philippines.

d. Arnis (Kali and Eskrima)

 The unique traditional fighting technique of the ancient warriors of the Philippines

 Now hailed as the national sport and fighting style of the Philippines

 The method of fighting can be without weapons or by using sticks, knives, and any other bladed
weapon in dealing with the opponent.

e. Batok or Batek

 Kind of indigenous tattooing of the Kalinga people in the Cordilleras

 Cordillerans or Igorots believed tattoos held spiritual powers and magical qualities, which could give
them strength and protection.

 Used to distinguish or reward a warrior after a successful headhunt expedition and to mark the
people’s social status within their community.

 Whang-Od was the most renowned tattoo artist in the country and who has been considered the last
mambabatok. Also, awarded the Haraya Award for Intangible Cultural Heritage by the National
Commission for Culture and the Arts (NCCA) in June 2018

f. Kampilan

 The Maranao Kampilan or sword is a single-edged bicuspid weapon that has an intricate handle made
of brass and ivory.

 Greatly known that the Maranaos utilized this sword as a weapon to cut off heads and to split the body
from top to toe.

 Used as a symbol of the power, wealth, and status of the Datu and Sultan and is made purely as a
commercialized item.

g. Kubing

 A type of jaw harp made from a hand-carved piece of bamboo.

 Can create a vast number of sounds and timbres in the hands of a good player.
 It is known by so many different names according to the culture that uses it.

o Kubing -Mindanao tribes

o Kulaing -Cotabato

o Subing -Visayas o Barmbaw -Tagalogs

o Kollibaw -Negritos

o Kinaban -Hanunoo Mangyans

o Afiw -Bontocs

o Coding -Ibaloys and Kalinga

4. EARLY SPANISH COLONIZATION

a. Religious Art

 In the 16th century, Spanish colonization sought to replace indigenous culture with one in the image
and likeness of the west.

 The Church is the sole patron of the art, thus art practice was limited to religious forms (altar pieces
and prayer book engravings).

b. Bahay Na Bato

 Type of house developed during the Philippines’ Spanish Colonial Period

 An upgraded version of the conventional bahay-kubo

 Brought about by the socio-economic developments of the time when Manila was opened to
international trade in 1834

 Described as a house with wooden legs and a stone skirt.

c. Baroque Churches

 The UNESCO World Heritage List in 1993 included the four Spanish Colonial period churches in the
Philippines.

 All four churches are designed and known to be of the Baroque style, mixed with European church
design  The four churches that were built by the Spaniards are located in Manila; Santa Maria Ilocos
Sur; Paoay; Ilocos Norte; and Miagao, Iloilo

 The Baroque Churches of the Philippines were the four Roman Catholic churches made between the
16th and the 18th centuries

 They are adorned specifically with features, such as retablos or altars of high Baroque style, as seen in
San Agustin Church, Intramuros, in the volutes of contrafuertes or buttresses and in the pyramidal finials
of wall facades, as seen in Paoay Church

d. Sculpture
 Upon the coming of the Spaniards, new art forms were introduced by the Spanish friars, but the
natives took to sculpture of the saints

 The santos were utilized for the church altars and retablos

 The santos replaced the anitos in the altars of the natibes homes while retablo or the “cabinet of
saints” housed the tabernacle and the image of the town’s patron saint

 The most ornate ratablos could be seen in San Agustin Church, Intramuros

e. Fiesta

 The Spanish word for party or festivity, turned pista in the local dialect.

 It is an acknowledged national traditional occasion.

 It as a momentous occasion when communities come together in gratitude for another passing year.

 The word fiesta in the minds of Filipinos creates images of banderitas (flaglets), carrozas (processional
carts), marching bands, and a lot of food.

f. Philippine Dance In The Spanish Period

 The hispanization infiltrated even the musical and choreographic practices of the people

 Even Native dances took on the tempo and temper of the European forms, like the noted Tinikling and
the Itik-itik acquired the tempo of the jota and the polka.

 The Spaniards not only modified our ritual, occupational, and imitative dances, but also brought in
their own dances. The mostknown was the jota, which later on took on numerous regional variations

 The Spanish dances flourished and stayed for all social occasions.

g. Graphic Art

 The Dominicans published the La Doctrina en la Lengua Espanola y Tagala in the 1590’s. It was the first
book printed in the country. On the cover was a woodcut engraving of St. Dominic by Juan de Veyra, a
Chinese convert.

 Printing presses were owned and governed mostly by the various religious orders because only prayer
books and estampas were allowed by the ruling colonial government.

 Estampas featured portraits of saints and known religious pictures.

 The introduction of lithography facilitated the printing of newspapers and periodicals in the country.

h. Painting During the Hispanic Period

 In the first centuries of Spanish colonization, painting was only for the creation of religious icons

 Josef Luciano Dans, one of the known pioneer painters in the Philippine art history, has two notable
works displayed in the church of Paete, Laguna.

 The two famous artworks

 Langit, Lupa at Impierno- first painting and featured Christ, the holy trinity, the seven blessed
sacraments, the mother of God, Mary, and the realistic description of Hell

 Purgatorio- second painting, vividly described the agony of souls while passing the eight types of
punishment as a form of purification before finally reaching heaven

5. 19TH CENTURY PHILIPPINE ART

a. Rise Of Ilustrados

 In 19th Century, the port of the Philippines was open to trade, and the inauguration of Suez Canal
allowed for more economic change.

 Instead for purely religious purposes, art was secularized.

 A new elite class, called Ilustrados, emerged and they assumed for the position for patrons for the arts.

b. Miniaturismo

 Portraits of women were executed in a style, miniaturismo, known for the artist meticulous attention
details of costume and accessories indicative of wealth and power.

c. Tipos Del Pais

 Country types representing ranges of social hierarchies dressed in typical costumes of their occupation
and class, were made by Justiniano Asuncion.

d. First Art Academy In The Philippines

 Academia Dibujo y Pintura, the first secular art school, opened in Binondo in the first quarter of the
19th century. e. Filipino Artist Abroad

 Juan Luna and Felix Resurreccion Hidalgo won on the Madrid exposition 1884 for their large work in
style of 19th century salon painting.

6. AMORSOLO TRADITION AND MODERN ART

a. Americans As The New Patron

 The arrivals of the Americans defined new education and value formation according to the “American
way of life”.

 Public school created a demand for illustrations for textbooks and publications.

b. Fernando Amorsolo And His Painting Tradition

 Fernando Amorsolo and his colleagues from the School of Fine Arts of the University of the Philippines
gave rise to the academic portraiture catering to the needs of the Americans, the new patrons of art.

c. Challeged Of The Modern

 The Amorsolo School was challenged by the modernist as early as 1928.

 Among the artist of modern art were Victorio Edades, Carlos “Botong” Francisco, and Galo Ocampo.
d. Art Associations

 After the WWII, art institution with the role supporting the arts was founded.

 Art Association of the Philippines (AAP) and the Philippine Art Gallery (PAG) were founded.

7. MARTIAL LAW ERA

a. Under the Guise of Cultural Program

 Marcos had to convince the people of his right to rule.

 Marcos together with Imelda created a cultural program aligned with the building of Bagong Lipunan
(The New Society).

 The native cultural program was based on the rebirth of the long-lost civilization of the Malay people.

 Representation of Ferdinand as the benevolent father of the nation, with Imelda as the mother was
found into paintings during their regime.

 This cultural program was not just the fabrication of a mythical past, but it was coupled with ideas of
modernization, development, progress, and cosmopolitanism.

b. Marcos as Monumental

 Ferdinand Marcos commissioned architects to build structures that created the impression that he was
monumental.

 He pushed for the same monumental impression in the construction of the architecture around Metro
Manila.

c. Edifice Complex

 The Marcoses wielded architecture as a weapon to assert power and maintain public support.

 These structures were symbolic of progress and prosperity despite the poverty surrounding them.

 “Edifice Complex plagues the nation with an obsession and compulsion to build edifices as a hallmark
of greatness or as a signifier of national prosperity”.

d. Preference of Imelda

 An internationalist abstraction was favored by Imelda.

 This was in line with the modernized and cosmopolitan philosophy of the cultural program they
engineered into the New Society.

e. Artist Responded to Martial Law

 The proclamation of Martial Law curtailed many freedoms, among them is the freedom of expression.

 Artist used art as a mechanism to rally the cause against the dictatorship and its atrocities.

f. Theater Arts During Martial Law

 Theater artist went to streets, plazas, factory sites, and open fields, to commune for the people they
were fighting for.

 The language of theater, previously English, was changed to Filipino for theater to become accessible.
g. Artists Groups

 Among the group of artist which were actively engaging with the issues of the societies during this
Martial Law was Kaisahan, a group of social realist visual artist.

8. CONTEMPORARY PHILIPPINE ART

a. Incorporation Of Historical Ang Traditional

 Historical theme mingled with folk imagery reconfigured the worked of artist such as Brenda Fajardo
and Ofeli Gelvazon-Tequi.

 Traditional art communities from the provinces dwell on rural life, folk legends and traditions. b.
Environmental Awareness

 In 1980’s, awareness of environmental issues emerged in the trend of using indigenous vernacular
materials.

c. Incorporation Of Traditional Material

 Kenneth Cobonpue is an internationally famed designer who incorporates local and natural materials in
his furniture (rattan, buri, abaka, etc.) giving them a distinct Filipino style.

d. CONCEPTUAL VALUES TAKE CENTER STAGE

 Installations and mixed-media works have a central aspect of discursiveness in which conceptual values
become the center of the work.

 Installations art also include performative interactivity between the artist, viewer and the public, and
the worked itself.

e. RENEWED MUSEUMS AND GALLERIES

 Museums and galleries welcomed new development and mounted installations that depart from
conventional exhibition format.

f. Art Competitions As Platforms

 Art competitions provide encouragement for emerging artists and raised artistic standards.

g. Participation In Biennals And Triennals

 Opening of regional and international biennials and triennials bring together artists and writers from all
pars of the world.