2.

Kulintang - an array of bossed gongs

HISTORY OF PHILIPPINE ART

I. Pre-conquest

 In art historical terms,

“pre-conquest”
 In stylistic terms, “indigenous”
 In cultural terms, “precolonial”

ART BEFORE
3. Gansa - flat gong
Are everyday expressions and were all integrated within
rituals

(ART BEFORE COLONIZATION)

EARLIEST FORMS OF THEATER/RITUALS

1. Mayvanuvanua (Batanes)
 ritual that opens the fishing season of dibang
(flying fish)
4. Agong - a large bossed gong
2. Cañao or Kanyaw (Cordillera Administrative
Region)
 officiated by a shaman or mumbaki. It involves
animal sacrifice where the entrails are read
through a process of divination

3. Kashawing (Lake Lanao of Mindanao)

 ritual to ensure abundance during rice planting
and harvesting.
NATIVE DANCE FORMS
4. Tagbanwa (Palawan)
 shamans go into a trance amidst ritual chanting 1. Pangalay (Sulu)
and dancing and are believed to be taken over the  mimetic dance of seabirds
goddesses themselves. 2. Kinabua of Mandaya
 performs swooping movements imitating the
ETHNIC MUSICAL INSTRUMENTS movements of eagle
3. Banog-banog of the Higaonon and B'laan
1. Kudyapi - a three stringed guitars  courtship dance that portrays the flight of the
birds
4. Man manok (Bago Tribe)
 dance that dramatizes three roosters who compete
against one another to be able to get the attention
of a hen, Lady Lien.
5. Talip (Ifugaos)
 courtship dance mimetic of the movements of
wild fowls
6. Inamong of Matigsalugs and Kadaliwas (T’boli)
 represent the comedic movements of monkey
7. Tinikling (Tagalog)
 evocative of the movements of the crane
balancing itself on stilt-like legs or flitting away
from the clutches of bamboo traps
Carving
1. Bulul (Cordillera)
 granary god that plays important role in rituals
 anthromorphic bulul appears in containers bowls
and spoons
2. Hagabi (Ifugao)
 wooden bench that marks the socio-economic
status of the owner
On the other hand, Christianized communities in Paete
Laguna and Betis Pampanga are known for carving
santos. In the Southern Philippines curvilienar
decorations called the okir are employed in woodcarving.
Sarimanok is the stylized design of a bird holding a fish
in its beak and/or standing on a base in the shape of a fish.
Naga has the form of an elaborate mythical serpent or
dragon with a vigorous S-curve and numerous curvilinear
motifs to suggest its scales.
Pako rabong is a stylized growing fern with a broad base
gracefully tapering upwards.
The sarimanok and naga are found in the panolong, the
extended floor beam, and the interior beams and posts of
the large sultan’s house called torogan.
The Manunggul Jar, excavated in Manunggul Cave
Lipunan Point Palawan is dated to the late Neolithic
Period (890-710).It has two anthropomorphic or human
forms atop the lid.
During the Metal Age (5 BC-225 AD) another type of
anthromorphic jars was produced the human figure is
more pronounced with lid as the head and base as the
body.
In later years pottery would become more and more
associated with objects for daily use, such as the palayok
(clay pot) for cooking, and the banga and tapayan (clay
pot) for storing liquids. In Vigan Ilocos the making of
burnay pottery continues as a lively tradition.
According to Respicio “textile weaving has a long
history”, Philippine ethnolinguistic groups have a rich
textile weaving tradition”
Textiles are not only functional they also impart
knowledge about people's belief systems: the reverence
for spirits and nature criteria for beautiful and the
society's sociopolitical structure
Woven Textiles
1. Pis syabit
 a headpiece woven by Tausug of Sulu
2. Malong
 it has exquisite tapestry panels called langkit
woven by the Maranao of Lanao Del Sur
Weaving
1. Tepo Mat
 a colorful double layered mat of Sama of Tawi-
Tawi made of pandan leaves.
2. Ovaloid Baskets
 made of nito and bamboo are used as a head sling
to carry harvest
3. Bubo
 fish traps made of sturdy bamboo strips in the
Ilocos region.
1. Tattoos
 Visayas “Islas de los Pintados”
 shared by Southeast Asia and New Zealand other
ethnolinguistic groups that practices tattooing are
Kalinga, Kankanay, Ibaloy and Ifugao
2. Jewelry
 the T'boli in particular are known for wearing
brass chains bells and colorful beads
1. Lotoans
 betel nut boxes of various shapes
2. Functional Containers
 textured design of rhombuses, spirals, cricles, and
tendrils swarm over the exteriors
3. Brass Kendi and Gadur
 used in ceremonies and are cherished as status
symbols or as heirloom pieces
II. Islamic Colonial (13th Century to the Present)
Islam was already well entrenched in Southern
Philippine where it continues to be culturally dominant.
ISLAM - Gained significant grounding in Sulu as early as
13th century.
II. Spanish Colonial (1521-1898)
Sayyid Abubakar of Arabia married Princess
Piramisuli, daughter of Rajah Baguinda. Abubakar Style and Culture Religious Art, Lowland Christian Art or
succeeded the throne and established the Sultanate of Folk art
Sulu
LOW LAND CHRISTIAN ART
 Quran
 Madrasa  Architecture
 Tausug  Sculpting Engraving
 Maranao  Music
 Maguindanao  Literature
 Yakan  Theater
 Samal  Visual Art
 Badjao
 Some areas in Palawan Architecture

How art is influenced by Islam Plaza Complex

 The complex was designed as the town center and
Notion of Tawhid or Unity with God consisted of the municipio or local government
emphasizes the impermanence of nature and the office and church.
incomprehensible greatness of the divine Being.
Cruciform Churches
1. Interior of mosques are covered with elaborate  Following the shape of the Latin cross churches
patterning in the form of reliefs. were built
2. Abstract forms and patterns
3. Parts of the Mosque like the mihrab or niche and the CRUCIFORM CHRCHES
Qibla wall are oriented toward the west
4. Bulbous Dome expresses all levels of comic existence
Octagonal base symbolizes the spirit while the four sided
main base refers to the earth or material world
5. The courtyard or Ka'bah a black shrine believed to be
built by Prophet Muhammad himself
6. The area of water supply serves as the function of
ablution or cleansing
7.The gardens within the Mosque compound or even
outside homes
8. Islamic forms are incline to project, grow or have an
upward orientation

Panolong - an elaborateoly carved protusion akin to a Baroque Style

wing attached to the torogan  Characterized by grandeur, drama, elaborate
details that purposely appealed to the emotions.
Luhul or canopy - that takes inspiration from the tree of
life Seen in San Agustin Church in Manila, Morong Church in
Rizal, Paoay Church in Ilocos Norte and Sto. Tomas de
9. Burraq, a horse with the head of a woman, is also an Villanueva Church in Miag-ao Ilo-Ilo
important figure
 Via Crucis
 series of 14 paintings or relief structures depicting
Christ's crucifixion resurrection

Trompe l'oeil
 a French word meaning “fooling the eye” it refers
to painting that give a heightened illusion of three-
dimensionality

Colonial Baroque or Philippine or Tropical Baroque

Fusion of both native and European elements

To suit the native's sensibilities local intervention was

made. The facade of Miag-ao Church features St.
Christopher surrounded by reliefs or relleves having
tropical motifs life palm fronds and papaya trees

The use of adobe, limestone or brick and the construction

Relleves
of thick buttresses or wing-like projections reinforce the
 Carved figurative protusions
church structure to make it more resistant to Earthquakes

SCULPING ENGRAVING

Santos From Western model to Chinese features and

techniques with Greek and Roman classical influence

Santos
 Greek and Roman classical influence is seen in
the proportion and formality of expression of a
santo and baroque style in the expressive and
emotional characteristics of the santo.
Retablo
 Integrates architecture and sculpture and is often Plateria
embellished with rosettes, scrolls, pediments and  organic designs of hammered silver
solomonic columns which may be gilded or
polychromed

MUSIC

Western Musical Instruments

Pipe organ violin guitar piano

 Catholic Lithurgical Music

Introduced in 1742 by the then Archbishop of
Manila Juan Rodriguez Angel
 The Santo Domingo and San Agustin convents
taught choral music to young boys including
 Filipino composers like Marcelo Ardonay (1848-  A popular form of musical theater from Spain
1928) imported during the 19th century it is an opera
which feautes singing and dancing interspersed with
Pasyon or Pabasa prose dialogue which allowed the story to be carried
 Biblical narration of Christ's passion chanted in out in song.
improvised melody  Severino Reyes and Hermogenes Ilagan arethe most
Awit and Corrido distinguished playwrights of their day and Honorata
 Musical forms were chanted stories based on “Atang” dela Rama (National Artist for Theater and
European Literature and history Music,awarded 1987) as their most celebrated
Balitao leading actress
 Sentimental love songs
Kundiman SENAKULO
 usually spoke of resignation and fatalism became
a vehicle for resistance  Written in 1704 by Gaspar Aquino de Belen its
 Kundiman ni Abdon, a kundiman which became a narrative was culled entirely from the Biblical
feature of protests actions against Martial Law account of Christ's passion and death on the cross
and Bayan Ko adapted into verse form and translated into local
LITERATURE language.

Among Mangyans of Mindoro bamboo poles are turn into KOMEDYA

smaller nodes and are etched with Baybayin used to
compose short poems of courtship and emotional concerns  Depicts the conflict between the Muslims and
Christians.
In Ticao Leyte a huge stone was discovered that
contained baybayin writing believed to be an invocation 1. Komedya de Santo or Religious Komedya
for a safe journey by sea.
2. Secular Komedya
1. CATHECISM AND PRAYER BOOKS -Moro-moro

THEATER FOLK MUSIC AD DANCE

 Religious Processions  Cariñosa

 Zarzuela or Sarsuwela  Pandango
 Senakulo  Polka
 Komedya  Dansa
 Moro-moro  Riodon

PROCESSIONS
 Earliest forms of theater were replaced by the pomp
and pageantry of religious processions complete
with embellished carrozas containing religious
tableaus of Catholic saints and scenes from the
Bible
ZARZUELA
SECULAR ART
1.Carta Hydrographica y Chorographica de las Yslas
Filipinas
 The first scientific map of the Philippines
 In 1734 the Jesuit Priest Fr. Pedro Murillo Velarde
collaboarated with artists Francisco Suarez and
engraver Nicolas de la Cruz Bagay to make Carta
Hydrographica y Chorographica de las Yslas
 Filipinas they were the first to acknowledge their
role as artist.
 Other known engravers include Laureano Atlas
and Felipe Sevilla who produced religious images
2. Flora de Filipinas
 an extensive compilation of Philippine plants by
Augustinian botanist Fr. Manuel Blanco
VISUAL ARTS
1. Heaven, Earth, and Hell (1850)
a mural by Jose Dans in Paete Church
Laguna
2. Two versions of San Cristobal
3. Basi Revolt Esteban Villanueva
 The opening of Manila to international trade and
the Suez Canal in1869 gained economic benefits
for the native elites
Religious art persisted like:
1. Music - development inside the church through
Marcelo Adonay and his compositions based on
the Western tradition.
2. Viriña - a bell shaped glass where santos are
placed
3. Urna - a humble domestic version of retablo often
attributed to the artists of Visayan region
The rise of new elite in art
1. Bahay na bato
2. Paintings
PAINTINGS
1. Miniaturist Style
 meticulous details that signify the wealth and
refinement of the sitter
 Portrait of the Quiazon Family 1800 documents
the family's affluence: the magnificent interior of
the family's house, the mother's jewelry the
delicate fabric and embroidery of their clothing
and their dignified poses
 Other known painters of the same style are
Antonio Malantic, Isidro Arceo, Dionisio De
Castro, and Justiniano Asuncion
2. Letras y Figuras
 combining names of individuals and vignettes of
everyday life
3. Academic Paintings
 championed European academic styles
 In 1821 Damian Domingo established the first art
school in the country right at his studio in
Binondo Manila,Academia de Dibujo, which
eventually became absorbed by Real Sociedad
Economica Filipina de Amigos del Pais where he
serve as director
 Features chiaroscuro or the play of light and the
dark and the contrast between them to heighten
the compositon's sense of drama
 Juan Luna won gold for Spoliarium and Felix
Hidalgo won silver for Virgenes Christianas
Expuestas Al Populacho in Madrid Exposition.
 Virgenes Christianas Expuestas Al Populacho
currently on long-term loan to National Art
Gallery in Singapore is a part of the Metropolitan
Museum of Manila or MET Collection
 Spoliarium may be viewed at the National Art
Gallery of the Philippines
 España y Filipinas is at the Lopez Museum
3. Genre Paintings
 Painting of scenes from everyday life, of ordinary
people in work or recreation, depicted in a
generally realistic manner.
 Simon Flores' Primeras Letras 1890
III. American Colonial to the Postwar Republic
  Sedition law which banned the writing, printing Planting Rice 1921 El Kundiman 1930
and publication of materials advocating Philippine
Independence

LITERATURE

Drama Simbolico
 are one-act play came to represent a deep and
profound yearning from freedom

 Tanikalang Guinto or Golden Chain Juan Abad FERNANDO AMORSOLO

(1902)
 Hindi Ako Patay or I am not Dead Juan Matapang  1972 National Artist known for his romantic
Cruz (1903) paintings that captured the warm glow of the
 Kahapon Ngayon at Bukas Aurelio Tolentino Philippine sunlight

A Modern Filipina
 the first English play written in 1915 by Liastillejo
and Jesus Araullo

Vaudeville
 is a motley collection of slapstick, songs, dances,
acrobatics, comedy skits, chorus girls, magic acts,
and stand-up comic acts AMORSOLO SCHOOL

ARCHITEECTURE  Irineo Miranda, Toribio Herrera, Cesar

Buenavantura and Dominador Castaneda
New Urban Design
 employed Neoclassic architecture for VICTORIO EDADES
governement edifices and integrated parks and
lawns to make the city attractive by making its  National Artist Victorio Edades influenced by
buildings impressive and places more inviting for United States' modern art movement
leisure amid urban light
GUILLERMO TOLENTINO
 Tomas Mapua, Juan Arellano, Andres Luna de
San Pedro, and Antonio Toledo  National Artist (1973) Guillermo Tolentino is
sculptor
studied Fine Arts in Rom and was influenced by classical
tradition
PAINTINGS
NAPOLEON ABUEVA
Landscape  National Artist Napoleon Abueva is a modern
 became cherished travel souvenirs artist who has worked with a variety of mediums
from hardwood to precious alabaster
Fabian Dela Rosa Japanese Occupation (1941-1945)
 Known for his naturalist painting characterized by
restraint and formality in brushwork, choice of  Modern Art project slow downed in pace
somber colors, and subject matter
1. KALIBAPI (Kapisanan sa Paglilingkod ng
Bagong Pilipinas) sponsored art competitions
 2. Greater East Asia Co-Prosperity Sphere is a
propaganda movement that sought to create a Pan-
Asia identity that rejected Western traditions.
3. Slogans like “Asia for Asia” made its way to the
public through posters, ephemera, comics, and
Japanese sponsored publications such as Shin-
Seki, Liwayway and Tribune
AMORSOLO PAINTINGS
 Harvest Scene 1942 and Rice Planting 1942
continued to flourish because his arts showed little
or no indication of war's atrocities which is
continued to be favored.
 Evocative of Semblance of peace, idealized work
in the countryside and promoted values of docile
industriousness
SA KABUKIRAN
 Sylvia La Torre's hit song written in tagalog in
the 1940' by the acclaimed composer Levi
Celerion National Artist for Music and Literature
awarded 1997
PAINTINGS
1. Genre Paintings
2. Showed indigenous and pre-colonial traditions
3. Portraits of ethnolonguistoc groups
4. (Crispin Lopez's Study of An Aeta 1943)
5. Scenes of war that remained neutral focusing on
the aesthetic qualites of ruin and disaster
(Amorsolo's Bombing of the Intendencia 1942
and Ruins of the Manila Cathedral 1945)
6. After 1945 works which depicted the horrors of
war such as Diosdado Lorenzo's Atrocities in
Paco and Dominador Castaneda's Doomed family
were painted
IV. 70's Contemporary
Many cultural projects ensued during the helm of the
Marcoses
Under Martial Marcos envisioned a New Society or
Bagong Lipunan
1. Rebirth of a long lost civilization
2. Aspiration to modernization and development
CCP shrine of the art
 Cultural Center of the Philippines is the premier
bureaucratic entity through which art acquisition,
exhibition making, workshops, grants and awards
were implemented

CCP COMPLEX
 Folk Arts Theater (1974 Miss Universe Pageant)
 Philippine International Concention Center (1976
IMF-World Bank Conference)
 Tahanang Filipino or Coconut Palace (Papal Visit)
 Manila Film Center (Manila International Film
Festival)
REVIVING FILIPINO TRADITION National Arts
Center in Mt. Makiling
Coconut Palace A
NATIONAL ARTS CENTER
 in Mt. Makiling was designed by Architect
Leandro Locsin is appropriated the style of
vernacular houses like the Ifugao fale
COCONUT PALACE
 was designed by Architect Francisco Manosca
utilized indigenous building materials and
fashioned the roof to look like a salakot
REVIVING FILIPINO TRADITION
 National Arts Center in Mt. Makiling designed by
Architect Leandro Locsin is appropriated the style
of vernacular houses like the Ifugao fale
 Coconut Palace Architect Francisco Manosca
utilized indigenous building materials and
fashoined the roof to look like a salakot
Context
 setting,conditions, circumstances, and occurrences
affecting production and reception or audience
response to an artwork
 a set of background information.
 by recognizing context, we acknowledge art’s
interaction with active forces in the society:
social, political, economic, religious, and
historical to name a few.
“Bulul”
  contains elements of sculpture but is not regarded
as such by its maker.

Importance facts:

 a remarkable bulul collection can be viewed in

storage at Hiwang Village;Banaue, Ifugao. Locals
can see the said collection at H.Otley Beyer
Museum located in the Vicinity.
 The Bencab Museum in Baguio City also has a
big collection of bululs.
The “Talaandig” artists from BUKIDNON on the other
 Thus, we can see the bulul, though ancient in
hand, express their affinities with the land by using soil
origin continues to be contemporary…
instead of pigments and painting about their present
concerns
Gaston Damag
JULIE LLUCH from ILIGAN CITY
CONTEXT: Exhibition system
 emphasize her female identity and personal
DOMAIN: Contemporary Art in Fine Arts
experiences in many of her TERRACOTTA
WORKS.
What happens to an object (art) when it is removed from
in “CUTTING ONIONS ALWAYS MAKES ME
its original context and changes in function?
CRY”, 1988, her self-portrait presents cooking---
What are the different contexts of art?
a role associated with women in the home--- as
oppresive and unpleasant.
A. Artists Background
 age, gender, culture, economic conditions, social
environment, and disposition.
Betis Pampanga
 sculpture is learned through “apprenticeship” with
a matekanan mandukit/
master sculptor
Red paper MÂCHÉ s
 culpture of horse/ “Taka” Paete Laguna is for
EXPORT or LOCAL SA  Travels, training, and professional development
broadens the artist’s horizons.
In the Gallery and Museum setting, the  Migration provides the artist with a different set of
UNIQUENESS and INDIVIDUAL EXPRESSION is material conditions
given much IMPORTANCE

Some artists deliberately foreground their

CULTURAL IDENTITY in their works B. Nature
 source of inspiration and a wellspring of materials
The Tausug National Artist ABDULMARI ASIA IMAO for art production.
(awarded 2006) integrate culture of Mindanao like the T’nalak
mythical SARIMANOK  uses abaca fibers producing forms inspired by
nature: kleng(crab), gmayaw (bird in fight) tofi
(frog), and sawo( snake skin).
 Traditional Ivatan House
T’nalak
 evocative of the people’s belief that spirits reside
with people in the natural environment

NELFA QUERUBIN-TOMPKINS
 has expiremented with iron-rich San Dionisio
Clay sourced from her native Iloilo.

BLACK POTTERY by Nelfa Querubin

JUNYEE
 made an ephemeral installation at the grounds of
the CCP titled “Angud, a forest once(2000)”.

NATURE is also the ENVIRONMENTAL

CONDITIONS.
 The traditional Ivatan houses in Batanes are built
using stones and fango for its walls, a kind of
mortar formed by combining cogon and mud bits.
VEEJAY VILLAFRANCA
 one of the photographers who warned the public
about the alarming effects of climate change, and
how it forces people to become “refugees in their
own land”.

FANGO

COGON
FERNANDO AMORSOLO
 painted land scapes as a romantic picture

d. Society, Politics,Economy, and History

 Although art is a form of expression, we discern
that thoughout its history, the works are not
always created out of the artist’s own volition
 “changes in the society, politics, and economy
RICARTE PURUGANAN affects the artists, the work that they do, and the
 depicted nature as an “uncontrollable force” in his structures that support their production…”
TOILERS OF THE SEA, 1980  “Technological innovations engender shifts in
artistic production…”
c. Everyday Life
 Philippine traditional art has always been an 20th Century
integral part of daily life.
PHOTOGRAPHY
PABALAT OF BULACAN  became accessible to local photographers as
“Kodak” set up shop in the Philippines in 1928.
 fulfilled documentary and artistic functions.

DALAGANG BUKID
 by Hermogenes Ilagan and Leon Ignacio, Directed
by Jose Nepomuceno (1919)
 is the basis of the first film to be directed by a
Filipino
DID YOU KNOW?
Lirio Salvador
 During Nepomuceno’s time, technology
 a Cavite-based artist fuses easily accessible
integrating music was not yet available, so the
objects like machine discards, bicycle parts, and
latter would be produced through “a capella”
implements to form an assemblage.
while the movie ran.

Lirio Salvador’s “Sandata ni Shiva”

 ATANG DE LA RAMA (NATIONAL ARTIST)
is a singer-actress who would sing in such movies

BENEDICTO CABRERA’S “Brown Brother’s Burden”

1970

MM YU (photographer)
 captured interesting patterns and forms often
overlooked in the city.
 Guillermo Tolentino Oblation, 1935 (awarded 1972)

Benedicto Cabrera Variations of Sabel, 2015

APPROPRIATION
 the technique of transforming existing materials
through the juxtaposition of elements taken from
context and replacing these in another to present
alternative meanings, structure, and composition.

e. Mode of Reception

 WHEN, WHERE, and HOW art is encountered. Napoleon Abueva Spirit of business, 1979

“MUSEUM’s power lies in its ability to construct

knowledge for us…”

“RECEPTION is very much affected by our level of

exposure to art forms…”

MIDEO CRUZ’S “Poleteismo” at the exhibit entitled

“Kulo” Nick Joaquin A Portrait of the Artist as Filipino, 1950
(awarded 1976)
“The artist’s AGE, GENDER, CULTURE, ECONOMIC
CONDITIONS, SOCIAL ENVIRONMENT, and  Story revolves around a painting of the same title
DISPOSITION affect PRODUCTION as well as dedicated by a crippled artist to his unmarried
RECEPTION…” daughters, Candida and Paula.

NATIONAL ARTISTS OF THE PHILIPPINES SUPPORT SYSTEMS, INSTITUTIONS, AND

INITIATIVES ACROSS THE REGIONS
National Artist Award (NAA)
 the highest form of recognition to Filipino artists  SUPPORT SYSTEMS, INSTITUTIONS, AND
for their significant contributions in the arts and INITIATIVES ACROSS THE REGIONS
letters.
 The award is conferred every three years.
NATIONAL ARTIST AWARD  Institutions
 Organizations
 Established in 1972  Collectives
 First recipient was Fernando Amorsolo  Media
 66 awardees were included from several disciplinal  Alternative Platforms
areas. (Architecture, Design and allied arts, Film,
Visual arts, Literature, Dance, Music, and Theater) INSTITUTION

 Educational institutions such as school and
universities offer artist training and grant degrees and
disseminate knowledge in art.
 Philippine High School for the Arts (PHSA) in LB,
Laguna (visual arts, creative writing, theatre arts,
dance, and music)
COLLECTIVE AND ARTISTS ORGANIZATION
 Composed of individuals who share similar or related
practices
 The Anino Shadowplay Collective, formed in 1996,
is a group of multimedia artists committed to
popularizing the art of shadowplay.
Anino Shadow play Collective presenting the Legend of
Tungkung Langit and Alusina (Alamat ni Tungkung
Langit at Alusina)
- Both English and Filipino, original plays written by
Filipinos, and even traditional sarswelas.
DANCE
 Kalilayan Folkloric dance group
 University of San Carlos Dance Troupe
 Hiyas ng Maynilad Dance Troupe
 UP Filipina Dance Group
 Lyceum of Batangas Folk Dance Company
VISUAL ARTS
 Museums are traditionally based on a collection of
objects.
 Tasked to preserve heritage for the enjoyment and
education of present and future generations.
 Contemporary art exhibitions need not be
confined within the “white cube” environment of
galleries and museums.

The Sipat Lawin Ensemble is a site-specific

experimental theatre company from the Philippines.
Formed in 2008, the collective produces work in theatres,
cafes, galleries, abandoned schools, stadiums and carparks
around Manila.

Non-government and academic sectors;

 The Tanghalang Ateneo

- both Filipino plays and adaptation of classic
 Teatro Tomasino
- original plays written by students
 Dulaang UP