Republic of the Philippines

Department of Education
REGION II – CAGAYAN VALLEY
SCHOOLS DIVISION OF SANTIAGO CITY
RIZAL NATIONAL HIGH SCHOOL
RIZAL, SANTIAGO

CONTEMPORARY PHILIPPINE ARTS IN THE REGIONS

STUDY GUIDE

The development of the Philippine Arts comes in THREE MAJOR TRADITIONS.

 ETHNIC TRADITION-before colonialization, the Philippines already has its indigenous era. Art forms are
primarily influenced by the geographical location and experiences of the Filipinos. At this time, the purpose
of art is integral to life. Arts reflected pagan beliefs and practices, everyday activities such as fishing and
farming, and specific decorative patterns to the community.

ANGONO PETROGLYPHS MANUNGGUL JAR BANGA

The Angono Petroglyphs is situated Manunggul jar was foundin The Banga literally means pots. The
in Binangonan Rizal. It was Manuggul Cave,Lipuun banga or pot dance is a
discovered by the National Artist Point,Palawan. Manuggul jar is a performance of Kalinga of the
Carlos “Botong” Francisco in 1965. burial jar which signifies the beliefs Mountain Province of the
There are 127 human and animal of early Filipino in life after death. Philippines. This dance shows the
figures engraved on the rock wall elegant grace of the Igorot tribe
and dated back to circa late and the skill and strength of women.
Neolithic.

 SPANISH COLONIAL TRADITIONS- art forms were primarily influenced by religion and secularization. At
this time, Spaniards used arts to propagate the Catholic faith.

LANGIT,LUPA, AT IMPYERNO by Josef Luciano Dans ST.PAUL METROPOLITAN

This wall painting by Dans depicts the haven, St.Paul Metropolitan Cathedral, is located in Burgos,
crucifixion of Christ; earth; Adan and Eve ; and hell, Vigan Cilty,Ilocos Sur. The cathedral follows a Baroque
sinners with different transgressions. architectural design.
  AMERICAN COLONIAL AND CONTEMPORARY ARTS TRADITIONS
MODERN ART- refers to the practice of art from the CONTEMPORARY ARTS - refers to the practice of art
860s to 1960s. The main theme of artwork at this time from 1970- the present. Contemporary arts mirror
is NATIONAL IDENTITY. contemporary culture and society. Diverse and
emerging art practices were being introduced in this
era.
Cinco Marias by Federico Aguilar Alcuaz
The Making of the Philippine Flag by Fernando Amorsolo This masterpiece of Alcuaz depicts the variety of
This painting shows a reminder of traditions and domestic activities.
customs of the Philippines.

Art Installation in Sand Dunes of Paoay by Leeroy New

Bayanihan by Carlos “Botong” Francisco Leeroy New is one of the Philippines Contemporary
This mural shows the Filipino’s Bayanihan tradition. artist.this art installation of Leeroy New was made for
This also shows the distinctive style of Francisco’s the La Milagrosa Festival in Ilocos Norte and this
painting that showcased his mastery in arts. symbolizes the great festivals, feast, and celebrations.

 PHILIPPINE ART plays a significant part in the rich cultural identity of the Philippines. It mirrors the Filipino
people, its history, its tradition, and the country as a whole. Diverse art forms in the different parts of the
archipelago, when integrated, will give a clear picture of what kind of country the Philippines is and what
kind of people the Filipinos are. These art forms developed from the early times continue to evolve up to the
present. From the ethnic tradition, it continues to progress to contemporary art tradition.

 WHAT IS CONTEMPORARY ART? Refers to current and very recent practice of art. It also refers to works
of art made by living artists.

MORE ABOUT CONTEMPORARY ART

 Contemporary art generally refers to art being created now. Contemporary is derived from the Latin prefix
con, which means “together” or “with”, plus tempus, which means “time”.

 The chronological view defines contemporary art as related to this current period in art history, and refers to
art that is new, recent, modern, or pertains to the present moment.
  Contemporary art emerged in the Philippines in reaction to social and cultural realities during the 1970’s
which is an era of repression and censorship of artistic expressions.
 Philippine art became a means to oppose the regime, and the political art of social realism flourished at this
time.
 Socio realism is an art movement which sought to expose the real condition of Philippine society and used
art to transform it.

 The end of Martial Law in the wake of EDSA People Power Revolution in 1986 brought the Philippines into
the contemporary period, and the art produced in this period is regarded as contemporary art.

Contemporary art as a Breaking of Norms - Contemporary art can be seen as a transgression of established norm
and rules. Established art forms are scrutinized and contemporary art reworks them to see them with fresh eyes.
Contemporary art is ruled by the cult of the new, endeavoring to create works of art that are “radical” and
“interdisciplinary”.

APPROPRIATION is an important preoccupation in contemporary art which is the practice of creating a new work by
taking a pre-existing image or from another context and combining the borrowed image with new ones.

Contemporary art and Local Heritage - Contemporary art professes an awareness of local heritage which is
something that can be passed from one generation to the next, can be conserved or inherited, and has historic or
cultural value. These are physical objects, places of heritage and the various practices of heritage unique to the
region or locality that are conserved or handed down from one generation to the next.

FUNCTIONS OF CONTEMPORARY ART:

Contemporary art for Pleasure - A visual delight in the work of art, can take many forms including an appreciation of
beauty or decoration, or delight in an element of surprise. Most cultures that have a definition of beautiful, define it as
something pleasing to the eye, and often resembling an ideal of some sort.

Contemporary art as Profession - Artists earn a living through their art since art and ideas are never free. They
possess value in the complex web of the creative industries that combine the creation, production and
commercialization of creative contents which are tangible and cultural in nature.

Contemporary art as Commentary - Art has been used to answer our need for information. Artists who fulfill our need
for commentary often speak in a language easy to understand, they view art as primary goal to communication by
means of subject matter.

Contemporary art in Spirituality - Artists may create art to express spiritual beliefs about the destiny of life controlled
by the force of a higher power.

Contemporary art as Remembrance - Art can be a remembrance which is something done as an aid to memory. We
need to commemorate important events and people that have shaped our history and show reverence for those who
have gone before us.

Contemporary art as Self-expression - Art fulfills an expressive function when an artist conveys information about his
or her personality, feelings or worldview.
NATIONAL ARTIST OF THE PHILIPPINES
To be a National Artists is considered to be the highest national recognition given to Filipino individuals who have
made significant contributions to the development of Philippine arts which is awarded by the National Commission for
Culture and the Arts together with Cultural Center of the Philippines.
NATIONAL ARTISTS IN THE PHILIPPINES AND THEIR SIGNIFICANT CONTRIBUTIONS TO THE
DEVELOPMENT OF
PHILIPPINE ARTS

NATIONAL ARTIST SIGNIFICANT CONTRIBUTION

The first National Artist
in the country.Amorsolo's masterpieces mostly
FERNANDO AMORSOLO
featured idyllic rural landscapes and Filipina women ,
paintings
He was known for using historical events as subject
CARLOS “BOTONG” FRANCISCO
matter for his murals.
He was recognized as the Father of Modern Philippine
VICTOR C. EDADES Painting and was known for using dark somber colors
in his paintings.
He was considered to be the Father of Modern
NAPOLEON ABUEVA
Philippine Sculpture.
He was known for utilizing and refining cubism, a style
CESAR LEGASPI involving breaking parts into geometric shapes in his
paintings.
He was known for his marches including the “Triumphal
March,” “History
ANTONIO BUENAVENTURA
Fantasy,” “Echoes from the Philippines,” and “Ode to
Freedom.
He was known for introducing the pentatonic scale,
whole tone scale, linear
ANTONIO J. MOLINA
counterpoints and the use of dominant ninths and
eleventh chords in Philippine music.
He is more known as Fernando Poe, Jr. He is an icon
RONALD ALAN K. POE in film industry as
an actor, director, writer and produce.
She was known as the Queen of Kundiman, and the
HONORATA “ATANG” DELA RAMA first actress to portray a 15-year-old in the very first
Tagalog film
Known as “Bencab,” Cabrera was noted as the
bestselling painter of his generation of Filipino artists
and also known for his sketches of a scavenger named
BENEDICTO CABRERA “Sabel, a symbol of
dislocation, despair and isolation-the personification of
human
dignity threatened by life’s circumstance.”

GAWAD SA MANLILIKHA NG BAYAN (GAMABA)

 Gawad sa Manlilikha ng Bayan (GAMABA) or the National Living Treasures Awards is given by the National Commission for
Culture and the Arts (NCCA) to recognize Filipino artists who have practiced and preserved the customs, beliefs, rituals and
traditions of the indigenous community where they belong. This recognition means that these artists have contributed significant
art forms that are timeless amidst our fast-paced environment and multifaceted culture.

 REPUBLIC ACT NO. 7355 - known as Manlilikha ng Bayan Act was established in 1992 to give
recognition to traditional art uniquely Filipino who preserves and promotes its traditional folk arts
that contribute to the national heritage.

 National Commission for Culture and the Arts (NCCA) is the highest policy and coordinating body
for culture and arts of the state.

As Filipino who recognize the unique identities of our fellow Filipinos, it is the right to see their contribution to
the community. The country is rich with various elements of tangible and intangible cultural heritage which has
passed on the new generation. Culture as part of our Philippine identity includes a variety of arts that enhance by our
National Living Treasure artists who are recognized in their special contribution to the national heritage.
These are Filipino citizen who is engaged in any traditional art forms and has contributed to the development
of cultural diversity and the creativity of humanity.

Awardee Contribution Region

GAMABA Awardees for the year 1993

Surat Mangyan and Ambahan poetry

Preserve the Hanunuo Mangyan script and Ambahan Panaytayan, Mansalay, Oriental
(poem consisting of seven-syllable lines) and promote Mindoro, Region IV-B MIMAROPA
it on every occasion so that the art will not be lost
but preserved for posterity.

Ginaw Bilog (d. 2003)

Photo Courtesy of NCCA

Epic Chanter and Storyteller

An outstanding master of the basal (gong music),
kulilal (highly lyrical poem) and bagit (instrumental
Pala’wan, Palawan
music played on the kusyapi), also played the aroding
(mouth harp) and babarak (ring flute) and above all, Island, Region IV-B MIMAROPA
he was a prolific and pre- eminent epic chanter and
storyteller

Masino Intaray (d. 2013)

Photo Courtesy of NCCA
 Playing Kudyapi
He achieved the highest level of excellence in the art Mamasapano, Maguidanao,
of kutiyapi or kudyapi (two-stringed lute) playing and Western Midanao Bangsamoro
also proficient in kulintang, agong (suspended
Autonomous Region in Muslim
bossed gong with wide rim), gandingan (bossed
Mindanao (BARMM)
gong with narrow rim), palendag (lip-valley flute), and
tambul.

Samaon Sulaiman (d. 2011)

Photo Courtesy of NCCA

GAMABA Awardees for the year 1998

T’nalak Weaving
She is credited with preserving her people’s
traditional T’nalak using abaca fibers as fine
as hair which traditionally has three primary T’boli/Lake Sebu, South
colors, red, black, and the original colors of Cotabato, Mindanao,
abaca leave recreated by her nimble hands- Region XII
the crocodiles, butterflies, and flowers. SOCCSKSARGEN

Lang Dulay
(d. 2015)
Photo Courtesy of NCCA

Inabal Weaving
She was awarded for fully demonstrating the
creative and expressive aspects of the
Bagobo abaca ikat (to tie or bond) weaving Tagabawa Bagobo/
called inabal (traditional textile of Bagobo) at a Bansalan, Davao del Sur,
time when such art was threatened with Region XI
extinction. Davao Region

Salinta Monon (d.

2009)
Photo Courtesy of NCCA

GAMABA Awardees for the year 2000

 Playing Yakan Instruments
He referred to for his ability and mastery in
playing different Yakan instruments (made
of bamboo, wood, and metal) and for
imparting his insight to the youngsters of his Yakan/ Lamitan, Basilan
locale. He keeps on performing and instruct Island,
despite his diminishing visual perception, Bangsamoro
keeping the Yakan melodic custom alive Autonomous Region in
and thriving. Muslim Mindanao
Uwang Ahadas (BARMM)

Photo Courtesy of NCCA

Chanting the Sugidanon Epic of the Panay

Bukidnon
He continuously works for the
documentation of the oral literature, in Sulod-Bukidnon/
particular the epics, of people. These ten Calinog, Iloilo, Panay
epics, rendered in a language that, though Island,
related to Kiniray-a, is no longer spoken. Region VI Western
Visayas

Federico Caballero
Photo Courtesy of NCCA

Playing Kalinga Musical Instruments

His lifestyle work is to paint a portrait of his
people to record a tradition of opposites
and dualities, a peoples’ character Kalinga, Northern Luzon
recorded in cadences each aggressive and
Island,
gentle. Play Kalinga musical instruments
Cordillera Administrative
dance patterns and moves related to
rituals.
Region (CAR)

Alonzo Saclag
Photo Courtesy of NCCA

GAMABA Awardees for the year 2004

Mat weaving
She was recognized as the master mat Ungos Matata,
weaver. Her colorful mats with their complex Tandubas, Tawi-Tawi,
geometric patterns showcased her precise Bangsamoro
sense of design, proportion, and symmetry Autonomous Region in
and sensitivity to color. Muslim Mindanao
(BARMM)

Hajja Amina Appi

(d. 2013)
Photo Courtesy of NCCA
 Metal Plating
He is an artist who has devoted his
existence to developing religious and
secular artwork in silver, bronze, and wood.
His intricately detailed retablos, mirrors,
altars, and carosas are in church buildings
Apalit, Pampanga,
and non-public
Region III
collections. A range of these works are quite
Central Luzon
large, some exceeding forty feet, whilst
Eduardo Mutuc some are very small and feature very nice
and refined craftsmanship.
Photo Courtesy of NCCA

Pis syabit Weaving

She remained devoted and persevered with
her mission to teach the artwork of pis syabit Tausug/ Parang,
weaving. Her strokes firm and sure, her Sulu,
color sensitivity acute, and her dedication to Bangsamoro
the best of her products unwavering. Autonomous Region in
Muslim Mindanao
(BARMM)

Darhata Sawabi
(d. 2005)
Photo Courtesy of NCCA

GAMABA Awardees for the year 2012

Abel Weaving(INABEL)
She has been a master in abel weaving from
Pinili, Ilocos Norte. She is not only weaving
traditional Ilocano textiles but also designs
new patters. One of her designs employs a
difficult weaving technique called pililian
meaning partially. The weave produces a
one of a kind design that takes after a string
of flowers thus its name, inubon a sabong. Pinili, Ilocos Norte Region
She did not formally study such traditional art. I
Magdalena Instead, she watched closely as her aunt Ilocos Region
Gamayo made and imitated the
patterns.
Photo Courtesy of NCCA
 Kattukong or Tabúngaw Hat Making
When he finishes fieldwork as a farmer, he
focuses on the cultivation and development
of tabúngaw (Ilokano term for úpo). At the
age of fifteen (15) he learned the art of San Quintin, Abra, Cordillera
Kattukong or tabúngaw hat making and basket Administrative Region (CAR)
weaving from his grandfather.

Teofilo Garcia
Photo Courtesy of NCCA

GAMABA Awardees for the year 2016

Yakan Weaving

Apuh Ambalang, is significantly respected in

all of Lamitan. Her ability is regarded unique:
she can bring forth all designs and actualize
all textile categories ordinary to the Yakan Lamitan, Basilan Island,
community, who are known to be among the Bangsamoro Autonomous
finest weavers within the Southern Region in Muslim
Philippines. She can perform the suwah Mindanao (BARMM)
bekkat (cross-stitch-like embellishment) and
suwah pendan (embroidery-like
embellishment) techniques of the bunga
Ambalang Ausalin sama category. She has the complex
knowledge of the whole weaving process,
Photo Courtesy of NCCA mindful at the same time as the cultural
significance of each textile design or
category.
B’laan Mat Weaving

Since she was a child, she was bright and careful in

tangle weaving. Her perseverance took place
because of her supportive husband. The thin strips of
the pandanus romblon (Pandanus copelandii merr.
Upper Lasang, Sapu Masla,
Bariu) rise matrixed through deft fingers performing
an individual rhythm, the beat guided by her eyes. Malapatan, Saranggani
The unwoven strips are held tight at the other end of Region XII SOCCSKSARGEN
her body, as toes curl and close around, not only
these strips but, as it were, the abstraction that other
people call design. The arc of her torso determines
Estelita Tumandan Bantilan the dexterity of feet and toes. Hand/eye coordination
happens inside a frame of milliseconds.
Photo Courtesy of NCCA
 B’laan Ikat or Tie-dye Fabric Weaving

Yabing Masalon Dulo, called as “Fu Yabing”, was

only fourteen (14) years old when she started
weaving. All her younger years were spent in
sharpening her skills and imparting the knowledge to
Amguo, Landan, Polomolok,
younger generations of B’laan weavers.
South Cotabato
She follows her mother’s movements back and forth. Region XII SOCCSKSARGEN
She colors the fibers, counts the thread, and
observes the rhythmic dance of a weaver’s dreams
Yabing Masalon Dulo
woven
Photo Courtesy of NCA into unique soulful pieces.