Introduction to World Religio and Belief System Teacher’s Resource Manual
Philippine Copyright 2016 by Rex Book Store, Inc. and
Flaudee May Datuin Roberto Paulino Eileen Legaspi-Ramirez Louise Marcelino RBS Contemporary Philippine Arts from the Regions First Edion ISBN 978-971-23-8051-8 Classifcaton: Worktext (89-CU-00001-0A) Published, copyrighted 2016, and distributed by Rex Book Store, Inc. (RBSI) with main oce at 856 Nicanor Reyes Sr. St., Sampaloc, Manila / Tel. Nos.: 735-1364, 736-0567 RBSI Branches: LUZON •MORAYTA: 856 N. Reyes Sr. St., Sampaloc, Manila / Tel. Nos.: 736-0169, 733-6746; Telefax: 736-4191 •RECTO: 2161-65 Freedom Building, C.M. Recto Avenue, Sampaloc, Manila / Tel. Nos.: 522-4521, 522-4305, 522-4107, 733-8637 • RECTO (La Consolacion): Mendiola, Manila • MAKATI: Unit UG-2, Star Centrum Bldg., Sen. Gil Puyat Ave., Maka City / Tel. No.: 818-5363; Telefax: 893-3744 •ROCKWELL: 1st Floor, Ateneo Professional School, Rockwell Center, Bel-Air, Maka City / Tel. No.: 729-2015 •CUBAO: Unit 10 UGF, Doña Consolacion Bldg., Gen. Santos Ave., Araneta Center, Cubao, Quezon City /Telefax: 911-1070 •ORTIGAS: G/F East Tower, Philippine Stock Exchange Center, Exchange Road, Orgas Center, Pasig City / Tel. No.: (02) 650-4347 •CAVITE: Block 4, Lot 20 Don Gregorio Heights 2, Zone 1-A Aguinaldo Highway, Dasmariñas, Cavite / Telefax: (046) 416-1824 • CAVITE (Tanza): (Display Area) Block 5, Lot 6, City View 4 and 5, Brgy. Tanauan, Tanza, Cavite •NAGA: 1-1A Geronimo Bldg., Barlin St., Sta. Cruz, Naga City, Camarines Sur/Telefax: (054) 811-6878 •LEGAZPI: Unit 6, 3rd Floor, A. Bichara Silverscreen , Legazpi City, Albay / Telefax: (052) 480-2244 •CALAPAN: Brgy. Salong, Naonal Highway, Calapan City, Oriental Mindoro / Telefax: (043) 288-1650 •BATANES: L. Lopez St., Kayvalugan, Basco, Batanes •TUGUEGARAO: 10 Arellano Ext., Brgy. Ugac Sur, Tuguegarao, Cagayan / Telefax: (078) 844-8072 •CABANATUAN: Fontelera Building, 1271 Del Pilar Ext., Sangitan East, Cabanatuan City, Nueva Ecija / Tel. No.: (044) 464-2151; Telefax: (044) 600-5684 •URDANETA: Zone 6, Pinmaludpod, Urdaneta City, Pangasinan / Telefax: (075) 568-3975 •ANGELES: Unit H, JMS Bldg., MacArthur Highway, Brgy. Salapungan, Angeles City, Pampanga/Telefax: (045) 887-5371 • BAGUIO: Rex Hall Student Residences, Upper Gen. Luna cor. A. Bonifacio St., Baguio City, Benguet / Tel. No.: (074) 422-0574 VISAYAS •TACLOBAN: Brgy. 74 Marasbaras, Tacloban City, Leyte / Tel. No.: (053) 323-89 76; Telefax: (053) 5 23-1784 •ILOILO: 75 Lopez Jaena St., Brgy. San Isidro, Jaro, Iloilo City, Iloilo / Tel. No.: (033) 329-0332; Telefax: (033) 329-0336 •BACOLOD: 28 Brgy. 36, Purok Immaculada, Quezon Ave., Bacolod City, Negros Occidental •CEBU: 11 Sanciangko St., Cebu City / Tel. Nos.: (032) 416-9684, 254-6773, 505-4313; Telefax: (032) 2 54-6466 MINDANAO •CAGAYAN DE ORO: J. S eriña St. cor. Vamenta Blvd., Carmen, Cagayan de Oro City, Misamis Oriental / Telefax: (088) 858-6775, 309-5881 •DAVAO: 156 C.M. Recto St., Davao City, Davao / Tel. Nos.: (082) 300-5422, 305-5772; Telefax: (082) 221-0272 •GENERAL SANTOS: Aparente St., Dadiangas Heights, General Santos City, South Cotabato / Telefax: (083) 554-7102 • ZAMBOANGA: San Francisco Loop, Mayor Agan Ave., Camino Nuevo B, Zamboanga C ity / Tel. No.: (062) 955–0887 www.rexpublishing.com.ph
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Contents
Preface ...................................................................................................................................................................v
Unit I: ENVIRONMENTAL SCANNING LESSON 1:
What is Contemporary Art? ................................................................................................ 1
LESSON 2:
A Brief History of Philippine Art ......................................................................................14
LESSON 3:
The Contexts of Art ..............................................................................................................45
LESSON 4:
The Contemporary in Traditional Art: Gawad sa Manlilikha ng Bayan (Gamaba)....................................................................................................................56
LESSON 5:
National Artists of the Philippines ................................................................................65
LESSON 6:
Support Systems, Institutions, and Initiatives Across the Regions.....................74
Unit II: STREAMING LESSON 7:
Mediums and Techniques .................................................................................................88
LESSON 8:
Elements of Art and Principles of Composition ......................................................101
LESSON 9:
Themes and Subject Matter ...........................................................................................112
Unit III: SYNCING LESSON 10: Integrating the Local and the Contemporary..........................................................122 LESSON 11: Art Production.....................................................................................................................132 Index .................................................................................................................................................................136
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iv
Preface
Contemporary Philippine Arts from the Regions is designed to simulate the environment of the Internet. This is to make a challenging and complex subject less intimidating and easier to access. As this book unfolds, we encourage you to imagine yourselves going through an adventure and a journey of exploration. Sometimes, the journey may be rough and you will find yourself lost in the many twists and turns of Contemporary Art. But keep on going; make sure you do not lose sight of the signposts that will guide you back to the main routes. The signposts that will function as your guides are:
QUEST sets the direction of the lesson and the learning outcomes;
CHAT ROOM signals that the discussion is about to begin;
FLAG lists the key terms to remember and understand;
THREAD links the lesson to previous and succeeding lessons; FAQ (Frequently Asked Questions) are formative questions. The questions make us aware of the main information to remember for each subtopic; THOUGHT BUBBLES are reflective questions or questions that call our attention to issues that we may wish to reflect on, in relation to a particular topic. They complement the FAQs, and also give us time to pause and catch our breath between long texts, but without breaking the flow of thought or ideas. Instead thought bubbles spur you to further inquiries and investigations;
TMLSS (To Make Long Story Short) sums up the lessons;
D-I-Y (Do It Yourself) are hands-on activities;
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PIN IT are summative questions also known as Guide Questions that sum up the ideas behind the FAQs and the thought bubbles;
LEVEL UP are further activities; and
TL; DR (Too Long; Did not Read) refers to books and other materials that the authors consulted. They are also known as Further Readings.
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UNIT I ENVIRONMENTAL SCANNING
This unit shines a beam of light on the contexts of contemporary art. Context is not just background or backdrop; it is intricately wedded to form—what art is made of, and how it is made. Art is shaped by and draws inspiration from the society and at the same time, art is honed by the specific conditions that engendered its production. In Lesson 1 we will learn some of the general characteristics of contemporary art, in the context of the Philippines’ various histories, cultures and identities. In Lesson 2, we present a more detailed overview of the histories of art in the Philippines; in the process, we will come to realize that art has many forms and contexts. In Lesson 3, we will scan the social, political, economic, environmental, and other contexts of art. Lessons 4 and 5 focus on the artists who have been declared National Living Treasures and National Artists, respectively. While the aim is to give you a preliminary exposure to exemplary artists, we also bear in mind that awards are forms of validation, and comprise but one element of the support systems of art, discussed in Lesson 6. This unit also sets the stage and provides the first building block for the final project. The activities in this unit fall under the pre-production stage. It starts with an activity on the Creation Story in Lesson 1, which will be developed into a concept, a narrative, a plot, a setting, and a storyboard in subsequent lessons all the way to Unit II, and finally a video production in Unit III. This unit culminates with a Cultural Mapping Research Project. Instructions are found at the end of Lesson 6. The Cultural Mapping project will take us outside the classroom to our own communities, enabling us to gain exposure and understanding of our own contexts. LESSON 1: WHAT IS CONTEMPORARY ART?
At the end of the lesson, you are expected to: •
define the term “contemporary art” in art historical, cultural and stylistic terms;
•
explain the difference between contemporary art and modern art in the context of the Philippines’ various histories, cultures, and identities;
•
demonstrate the major characteristics of contemporary art through an artwork that would require teamwork and collaboration;
•
appreciate the role of contemporary art and artists in Philippine contemporary life; and
•
understand contemporary issues and their relationship to real life situations.
QUEST
UNIT I: ENVIRONMENTAL SCANNING
1
FLAG
CHAT ROOM
Contemporary Art Modern Art Neo-Realism Social Realism Neoclassic integrative process-based site-specific collaborative interactive installation mixed media performance art
THREAD
It is a common tendency to describe the present as “modern.” Being modern means being up to date and technologically advanced. Often, being modern is equated with being contemporary. Art that is new or current is also often referred to as “modern” as opposed to “traditional” or “conservative.” In other words, in everyday parlance, the terms are interchangeable. In this lesson and in the more detailed history in the next, we will learn that the terms modern and contemporary refer to vastly different periods. Modern Art is not the same as Contemporary Art, although they could share some characteristics, sources and influences. As we will come to realize and learn as we go along, it is also possible to integrate and transform elements from Modern Art into Contemporary Art. FAQ What is contemporary? Is it the same as being modern? The first difference between the contemporary and modern is historical and chronological, as the overview of Philippine Art in Lesson 2 will show. Meanwhile, the table suggested by Arts Studies Professors Fajardo and Flores titled “Historical Overview of Philippine Art “ (2002) below shows a summary of the periods of
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Contemporary Philippine Arts from the Regions
Philippine Art from Pre-Conquest to the Contemporary. Please take note that this table includes painting, sculpture, and architecture only. As you learn more in succeeding lessons, you can add on your own data on the other arts like music, dance, literature, and theater. HISTORICAL OVERVIEW: PHILIPPINE ART Pre -Conque st
Spa nish Pe riod 1521-1898
American Period 1898–1940
Japanese Period 1941–45
Potter; body adorment, ornament (Figure A)
Religious (icon and ecclesiastical), secular (portraiture). (Figure B)
Landscape, portraiture, genre, interior, still life
Pottery, carving and woodwork, metalwork and expression (FIgure C)
Santos, furniture, reliefs, altar pieces, jewelry, metalwork, fieta, ornamentation (Figure D)
Free standing, relief, public
Wartime scene (aggression, nationalism, atrocities, symbolic, protest, aspiration for peace)
Dwellings and houses, shelters, worship areas, official residences, mosque, masjid, state edifices (Figure E)
Church, plaza complex; town planning, fortification, civic buildings and installations, private residences, commercial structures, cemeteries, bridges, lighthouse
City planning parks, waterfronts, civic/gov’t., structures, public works, apartments, residences, offices, health and public education, business chalet
Form
Painting
Sculpture
Architecture
Propaganda Indigenizing and orientilizing works, genre, idyllis (Amorosio, Francisco, Ocampo)
Public works
Postwar Republic 1946–1969
Modern, conservative, bastract, experimental, public art
70sContemporary
Figurative, non-figurative, art for art sake, multimedia, mixed media, transmedia
Real estate, safe housing, accessories, tenements, squatters, conventon arch, commercial/ business, condos, malls, subdivisions, development, low cost housing
Figure 1.1
Figure A
Figure B
Figure D
Figure C
Figure E
UNIT I: ENVIRONMENTAL SCANNING
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FAQ What is Contemporary Art? What is Modern Art? If we talk in terms of Art History (refer to the aforementioned matrix), Contemporary Art can be defined as art produced by artists living today.
Figure 1.2. Zyza Bacani (2013)
The picture on Figure 1.2 and the painting by HR Ocampo on Figure 1.3 have the same subject matter: the poor and ordinary people on the streets. Figure 1.2 was taken around 2013, in Hong Kong, where the photographer, Zyza Bacani, who hails from Nueva Vizcaya, worked as a domestic helper, and is now based in New York on a scholarship. On her days off, she shot with her digicamera. Her first camera was bought from money loaned by her employer. (http://www.interaksyon.com/lifestyle/ny- times-blog-features-filipino-domesticworkerphotographer) HR Ocampo’s painting (Figure 1.3) was painted in the early 1960s. At that time, the painting was considered contemporary. Today, we refer to these works as examples of Modern Art, produced between the American colonial period to the Post-war period. Some Modern artists continue to produce work till today. In that sense, their works can be described as contemporary, by virtue of being “of the present.” For example, the National Artist Arturo Luz continued to produce paintings in his 90s and well into the 21st. However, as seen in Figure 1.1 the table of “Historical Overview” his paintings’ hard-edged and minimalist abstract style is associated with the Modern style of the late 20th century. The “contemporary” is therefore a fluid term, and its use can change depending on the con-texts, in this case historical and stylistic. At times, the Modern and Contemporary can be
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Contemporary Philippine Arts from the Regions
used simultaneously or interchangeably; however, there is also danger of using them carelessly or loosely. Thus, it is important to know the historical, and stylistic contexts of the terms.
Figure 1.3. The Contrast by HR Ocampo
Figure 1.4. Frugal Meal by Cesar Legaspi
There are a number of artists—young and senior, alike—who paint in styles associated with Modern Art. National Artist Victorio Edades is credited for initiating the Modern Art movement that challenged the Neoclassic style, which was dominant at the time he came home from studying in America before the war. The Neoclassic style depicts reality as closely as possible and idealizes it. The Modern artists led by Edades challenged what were described as “conservative”art seen in the works of National Artists Fernando Amorsolo and Guillermo Tolentino. Modern artists do not aim to copy and idealize reality; instead, they change the colors and flatten the picture instead of creating illusions of depth, nearness, and farness. Instead of the beautiful and pastoral, they depict what might be thought of as “ugly” and unpleasant. At that time, Modern Art was considered new and shocking; Neoclassic Art was familiar and comfortable. Neoclassic Art is also described by art historians like Guillermo as “academic” along with other es-tablished styles imported from Europe via Spanish colonization. In its simplest sense Neoclassicism is “academic” as it was and continues to be taught in schools, particularly the then University of the Philippines School of Fine Arts (now UP College of Fine Arts), where Amorsolo and Tolentino were most influential. The School of Fine Arts is now the University of the Philippines College of Fine Arts, where students are being exposed to various styles. The Neoclassic style associated with Amorsolo and Tolentino continue to influence a number of practicing artists who have learned to paint in that style either for-mally as art students in various universities where Neoclassic style is UNIT I: ENVIRONMENTAL SCANNING
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included in the curriculum or infor-mally through workshops and apprenticeships, or through self-learning or self-study, as in the case of many ar tists from the regions outside Manila. Today, Modern Art is referred to as “traditional,” compared to Contemporary Art. Contemporary Art is the art of the present, which is continuously in process and in flux. What is contemporary today might become “academic” or “traditional” at some point. The styles of Modern Art for example are now part of art school curricula and have become academic. Thus, the distinction between Modern Art and Contem-porary Art could also be a matter of perception and reception depending on the contexts, which will be discussed in detail in the succeeding lessons. For now, it is important that we are aware of the distinction between Modern Art and Contemporary Art, their differences as well as similarities. FAQ What are the similarities and differences between Modern Art and Contemporary Art?
Figure 1.5. Carlos Francisco, Magpupukot
Figure 1.6. Fernando Amorsolo, Fishing Scene
Figure 1.7. Victorio Edades, The Builders
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Contemporary Philippine Arts from the Regions
