Promoting Local Filipino Artist - Research Paper

De La Salle-College of Saint Benilde
School of Management Information Technology

NSTP FOTIE1
Promoting Local Filipino Artists to Empower the Philippine Art Industry
Submitted to:
Prof. Maria Jocelyn Garcia-Jawid, PhD
Submitted by:
Beng Hui, Matthew Dylan

Bernardo, Lana Gabrielle
Labanancia, Cindy
Sanglay, Keisha Angelie Faye
April 13, 2022

PROMOTING LOCAL FILIPINO ARTISTS TO EMPOWER THE PHILIPPINE ART INDUSTRY 2
Table of Contents
Table of Contents 2
The Problem 3
Goals and Objectives 9
Target Audiences 10
Messages and Messengers 16
Resources and Assets 22
Strategies and Tactics 29
References 32
Appendices 34
The Problem
In the Philippines, arts and culture are often underappreciated when compared to
other industries, and as a result often lack the necessary funding and infrastructure for
expansion. Mercado (2018) believes, however, that this is not because Filipinos are
uninterested in the contemporary arts, but rather because the public sector places
greater emphasis on other aspects of development instead of arts and culture. For
instance, some of the only venues in Manila where art can be exhibited on a
governmental level are the National Museum of Natural History, the Cultural Center of
the Philippines (CCP) and the National Commission for Culture and the Arts (NCCA)
Gallery, with similar issues happening in Visayas.
Despite the lack of support towards public museums, Mercado (2018) notes that
private owned institutions are capable of fielding the resources and patrons necessary
to sustain themselves. Art Fair Philippines is one such event, itself being a venue where
local contemporary Filipino artists can showcase their work and be discovered by an
international audience (artfairmag.com, 2021). However, Mercado (2018) also
mentioned that it will be difficult to generate public interest in the arts and culture by
relying solely on these institutions, since they may end up depicting the industry as
being reserved only to those with wealth and power. As such, the advocates believe that
art and culture should be made readily accessible to everyone, and Filipinos across all
levels of society should be given opportunities to engage with them.
In 2016, Francesca V. Mateo of the University of San Francisco published a

master thesis on how public receptivity towards Philippine Art has been negatively
affected by Filipino Colonial Mentality. She noted that this problem mainly stemmed
from how both the Spanish and Americans projected their own ideas of “civilization”
onto the Philippines, thereby introducing the concept of “Western superiority” which has
persisted all the way up to modern times. Combined with the heavy exposure to
Western culture as well as the Westernization of Metro Manila’s urban landscape, this
has resulted in Filipinos making constant comparisons about their art and cultural
accomplishments against those of the West (pp. 55-56).
According to Mateo (2016) and in reference to the work of David (2013) on

Filipino-American Postcolonial Psychology, Colonial mentality is a form of internalized
oppression in which Filipinos experience an automatic preference for anything Western
while rejecting anything Filipino (pp. 4-5). Examples of this include Filipinos using
skin-whitening products and regarding “imported” goods to be of greater quality than
“local” Filipino goods (David, 2013). However, the most evident example of colonial
mentality could be seen in the surveys and interviews conducted by Mateo (2016) on
how Filipinos view Western culture. In them, she found that out of the 20 people she
surveyed, which consisted of Filipinos who were either artists, part of the Philippine art
community or students from the University of the Philippines (UP), around 30% more of
them agreed to have a preference for American pop culture over Filipino culture than
those who disagreed. Those who agreed consisted of nearly 70% of the artists and
nearly 60% of art participants, as well as 20% of UP students (pp. 53-54). During the
interviews, participants cited Western standards as the driving factor behind modern
Philippine culture, which Filipinos tend to view as an indicator of success and
recognition on the international stage (p. 55).
Prior to the emergence of contemporary art in the Philippines, modern art faced
opposition from the art academies that were established by the Spaniards since the
early 16th century (Stancheva, 2017). Guillermo (2019) notes that modernism, at least
in the Philippine context, was a reaction against the established art canons of the
1920s, whose institutions mainly catered to European art tastes and wealthy patrons (p.
1). These institutions fell under the Academic style which took inspiration from the
Spanish, Italian and French Academies, and was the primary means of spreading
Catholicism throughout the Philippines (Stancheva, 2017). Notable practitioners of the
Academic style were painters such as Juan Luna, Fabian de la Rosa, and Fernando
Armosolo who made use of Neo-Classicism and Realism, while Victorio Edades and
Vicente Manansala became a part of the “13 Moderns” as a result of the experimental
styles they learned from abroad (Stancheva, 2017).
In contrast to the large-scale social changes brought about by modernism in

Europe, most especially during the Industrial Revolution, Guillermo (2019) noted that
modernism in the Philippines did not lead to a radical break from traditional art, but
instead continued to pay respect to rural imagery and local traditions (p. 3). Artists such
as Victorio Edades even went as far as to define modernism as a vessel for discovering
the Philippine national identity, since it had the potential to “involve stylistic
experimentation with research into indigenous artistic sources in order to enrich the new
art” (p.3). This was an important development because prior to the introduction of
modernism, the majority of indigenous Philippine arts and crafts were heavily
marginalized against by the Spaniards, resulting in a division between the “high arts”
that were championed by the Europeans and the surviving “folk art” of the indigenous
Filipinos (p.1). As the successor to modern art, it can therefore be said that
contemporary art has the capacity to reinvigorate Philippine society and culture, both of
which have been largely overtaken by Western tradition.
Filipino artists have an important role to play in preserving the art and cultural
heritage of the Philippines, which is why government agencies have been formed in
order to ensure that they are accredited for their accomplishments. For instance, the
NCCA has been selecting indigenous Filipino artists since 1992 and bestowing upon
them the National Living Treasures Award or Gawad sa Manlilikha ng Bayan (GAMABA)
(Estrella, 2017). More specifically, the award is granted to those who possess a ‘high
degree of knowledge or skills to perform or recreate elements of intangible cultural
heritage’, have revitalized the artistic tradition of their indigenous cultural community
and are recognized as a master of their craftsmanship. (Primer Media Inc., 2018). Crafts
that have been celebrated include traditional musical instruments, dancing, attire,
weaving, textiles, sculpting, chants and poetry (Estrella, 2017). It is through these
practices that the Filipino spirit continues to live on, hence why Filipinos today should be
more informed about them.
As the advocacy suggests, the goal of the advocates is to give recognition to

local Filipino artists, both traditional and contemporary, while also ensuring that Filipinos
will have a greater appreciation for the works and contributions of these artists. At the
moment, the target audience is the Benildean Community, which is why the advocates
also aim to collaborate with art organizations from Benilde in order to generate student
awareness. By doing this, the advocates aim to encourage others to help expand the art
industry of the Philippines either through monetary contributions or through the creation
of new art pieces.
One issue that has led to the problems in the Philippine art industry is the lack of
coverage being done on Filipino artists in formal education. Art in the Philippines’
secondary education focuses mainly on the accomplishments of Western artists, but
neither the historical development of Filipino art nor the works of contemporary Filipinos
artists have been given as much focus. Furthermore, the number of Filipino students
who receive art education has greatly diminished throughout the decades due to the
expansion of standardized test taking, which has encouraged schools to devote more
resources to testable subject matter instead of the creative arts (Geromo, 2019).
Another issue that might have led to this problem is the colonial mentality that
continues to persist in the Philippines. As stated before, Filipinos tend to have an
inclination towards Western practices and brands instead of those originating from the
Philippines, despite having been part of a sovereign nation since 1946 (Mateo, 2016).
Although art has helped combat colonial mentality by educating the public on Philippine
culture and values, Mateo (2016) notes that access to this industry is unevenly
distributed across the different levels of society.
If left unresolved, the lack of support for Filipino art may lead to the deterioration
of the Filipino cultural heritage, which will instead be replaced by a Western mentality.
This mindset has roots in the colonial history of the Philippines and still continues to
persist in the modern era, more specifically how developed countries such as the United
States use a form of globalization known as “cultural globalization” as a way of
controlling the cultures and economies of developing and underdeveloped countries
(Javed, 2014). Instead of using physical force, countries can now spread ideas in order
to influence each other, often at the cost of replacing the native practices and traditions
in favor of becoming more culturally homogeneous along with the rest of the world.
The current global culture mostly consists of Western practices due to its
widespread proliferation during the Age of Exploration, with the Philippines being a stark
example of the effects that colonization had on Eastern society. In contrast to the rest of
Southeast Asia, the Philippines is predominantly Catholic and has strong ties with
Western countries such as the United States, although individuals such as President
Duterte have tried to move away from this dependence and look towards its neighboring
countries. Unfortunately, this action may only serve to shift Philippine society towards
the culture of another nation, which is why there is a need to properly define the Filipino
identity. Art is a vessel for exploration, one that can be viewed by anyone from any
social class, and can be used to explore the various facets of what it means to be
Filipino in relation to an increasingly connected world. By understanding the history and
culture of the Philippines, Filipinos can allow themselves to make their own place in the
world instead of becoming subsumed yet again by another culture as seen in their
history.
By partnering with existing art organizations and hosting events designed to

promote the works of local artists, the advocates aim to spread awareness on the
current state of the Philippine art industry. As the main issue stems from the lack of
participants and a low public perception towards careers in art, the advocates believe
that by providing Filipinos with a personal perspective on the lives of local artists, they
will be inspired to help in expanding the art industry, and potentially even contribute to it
by creating works of their own. Learning about one’s own country and native culture can
also greatly enhance a person’s self-esteem for their own national identity, which can
then be applied to the arts (both fine and practical) that are performed in his or her life
(Mateo, 2016, pp. 4-5). Ultimately, proper art education is needed in order to ensure that
Filipinos will remain interested in the arts up to adulthood, and acting on it during one’s
formal education can help bring about future benefits to society in the form of
intrapersonal and interpersonal growth (Geromo, 2019).
Goals and Objectives
Goal
This advocacy aims to promote the works of local Filipino artists in order to help
grow the Philippine art industry.
Objectives
The following are the advocates’ objectives to meet the goals:
Informational Objective
This advocacy aims to collaborate with Artelier, a student organization in De-La
Salle College of Saint Benilde, in spreading awareness to Benildean students on the
Philippine art industry through the use of a webinar.
Motivational Objective
This advocacy aims to encourage Benildean students to support local Filipino
artists by showcasing their artworks through online exhibits, which will be held on
various social media platforms.
Behavioral Objective
This advocacy aims to provide a website for local Filipino artists to promote their
works, thereby encouraging other Filipinos to contribute to the Philippine art industry.
Institutional Objective
This advocacy aims to collaborate with Artelier, a student organization in De-La
Salle College of Saint Benilde, in sharing the works of local Filipino artists on their social
media accounts.
Target Audiences
Primary Audiences
Benildean Students
The Benildean students may become more knowledgeable on Filipino art
practices and traditions by exposing themselves to the works of local Filipino artists.
This will allow them to gain a better understanding of the current state of the Philippine
art industry, which may in turn lead to a greater appreciation towards the local artists.
De La Salle-College of Saint Benilde

The College of Saint Benilde may gain new insights on the current state of the
Philippine art industry through the experiences of local Filipino artists. The college will
also be able to improve its reputation as an educational institution for creative
individuals by giving recognition towards the artists.
Local Filipino Artists/Guest Speakers

The local Filipino artists may be granted the opportunity to showcase their
creative talents and capabilities towards the Benildean students, allowing them to gain
recognition for their skills. This in turn will allow them to start building a network of
dedicated supporters and contributors from a small group of people, which can later be
expanded to include followers outside of the Benildean community. These people can
later on act as sources of morale and monetary contribution for the local artists, which
they can then use as part of their artistic endeavors.
Arterlier
This Benildean student organization may gain new members by providing
patronage to local Filipino artists. This can be done by sharing their artworks to
Benildean students and other followers on their Facebook page, which may also attract
more attention towards the organization.
Secondary Audiences
Other Students and Peers
The rest of the student body alongside any other acquaintances they have may
become more knowledgeable on the situation of the Philippine art industry, and may
therefore learn to be more appreciative of local Filipino artists.
Filipino Art Community

The Filipino art community outside of the College of Saint Benilde may receive
proper recognition from people who appreciate the time and effort that goes into
enhancing the beauty of each artwork. They may also discover people who are
interested in their work, allowing them to broaden their horizons regarding the potential
of their crafts.
Other Art Organizations in the Philippines

The other art organizations founded in the Philippines may become more aware
of other underrated artists within the Filipino art community, providing them with the
opportunity to expand their membership. Their presence will also allow Filipino artists to
flourish in the industry as a result of any support provided by these organizations.
Social Media Specialists

Social Media Specialists may gain feedback on how the platforms could aid in
advocacy campaigns and social movements, allowing them to better optimize how they
create and publish new content on the platforms. This can also allow the companies to
have a significant role in the proceedings of the campaigns and movements.
Anti-Art Associates
Anti-Art Associates such as NFT Promoters and Pseudo-Artists may learn about
the goal of the advocates to improve the Philippine art industry through legitimate
means and may be given the opportunity to support the advocacy campaign. In turn, the
advocates will be able to better understand why they tend to disrupt the art community
through acts such as by stealing uncredited artwork from others.
General Public
The general public may develop an interest in the arts by joining the advocacy
campaign, and may also convince others to participate as well in order to help expand
the Philippine art industry. They may also develop a better understanding of the industry
based on what the advocates aspire to achieve through the advocacy campaign.
Supporters and Opponents

The table below presents the supporters’ level of influence and strategies for
engagement:
Supporters Level of Influence Strategies for Engagement
Benildean Moderate Engage with the artwork of local

Student Body, The students and their peers artists and suggest ways on how
and Peers can contribute to the advocacy to improve the Philippine art
campaign by engaging with the industry. They can also provide
resources provided by the donations to local artists and ask
advocates, as well as by them for commissions via the
providing the advocates with website. All of these practices
examples of their own. This will will allow the students to
allow them to learn more about recognize the efforts and
the role of Filipino artists in importance of Filipino artists.
society.
De La Moderate Provide engagement with local

Salle-College of The college can encourage its artists, which in turn can
Saint Benilde students to contribute to the enhance the college’s reputation
advocacy campaign by as an educational institution for
providing their own resources on aspiring Filipino artists. The
Filipino art to be used in the college can also be provided
website and the webinar. with support and recognition by
giving them dedicated web
pages in the online information
platform where they can post
announcements.
Local Filipino High The artists can share their

Artists/Guest They are the main focus of the experiences as part of the
Speakers advocacy campaign as it is Philippine art industry, and
catered towards their benefit. provide sample works for the
They can contribute to the advocacy campaign. They can
advocacy campaign by also be provided with support
providing their own resources on and recognition by giving them
Filipino art to be used in the dedicated web pages in the
website and the webinar. website where they can post
announcements, recommend
other artists, receive donations
and commissions.
Filipino Art High Promoting each other’s

Community They are also one of the main reputations by recommending to
focuses of the advocacy the participants the works of
campaign as they have the other less prominent Filipino
capacity to generate widespread artists.
awareness of the Philippine art
industry.
Artelier and Moderate The art organizations can share

Other Art These organizations could be their experiences as part of the
Organizations in willing to sponsor some of the Philippine art industry, and
the Philippines materials for the advocacy provide sample works for the
campaign, as well as aid the advocacy campaign. They can
advocates in promoting local also be provided with support
Filipino artists. Their support can and recognition by giving them
enhance the effectiveness and dedicated web pages in the
reach of the campaign. website where they can post
announcements and recommend
other artists.
Social Media Moderate Provide advice to aspiring artists

Specialists Social Media Specialists are on how they can better connect
people who have expertise in with their target audiences. They
creating and promoting content can also inform the participants
via social media platforms. They of the advocacy campaign on
can aid in spreading awareness the dangers of social media such
of the advocacy campaign to as online harassment and how
their followers and supporters. they can avoid or deal with them.
General Public Moderate Encourage people on social

that is These are additional people media to participate in the
interested in art whose interest in art can help in advocacy campaign by
further promoting the advocacy recommending local Filipino
campaign. artists for them to follow and
support.
Opponents Level of Influence Strategies for Engagement
NFT Promoters High Address the issue by allowing

Some people promote the local artists to establish
non-fungible tokens (NFTs) boundaries regarding the
which allows artworks to be sold distribution and selling of their
online, but there are instances artworks. They can also provide
where artworks have been evidence that a work was made
copied and sold without the by a specific person, thereby
permission of the original artist. ensuring that no other person
has the right to claim it. This will
allow the artists to be properly

compensated for their works.
Pseudo-Artists High Address the issue by allowing

In the art community, some the local artists to establish
individuals are not actual artists, boundaries regarding the
choosing to instead trace the distribution and selling of their
work of others or copy from an artworks. They can also provide
existing artwork. evidence that a work was made
by a specific person, thereby
ensuring that no other person
has the right to claim it. This will
allow the artists to be properly
compensated for their works.
People who do Low Utilize the advocacy campaign to

not appreciate Some people do not have a showcase the benefits of art in
or understand strong interest in art. While they the Philippines such as its
the value of art may not have that much of an importance in upholding Filipino
impact since their decision is culture and tradition.
based on personal preference,
they can still affect whether or
not the advocacy campaign will
receive participants by
encouraging or discouraging
people from attending.
Messages and Messengers
Primary Message
“Support local talents for the future of the Philippines.”
The primary message of the advocacy is to encourage people to support local

Filipino artists and their talents for the development of the Philippines. In the Philippines,
numerous artists suffer from a lack of exposure despite having the necessary skills and
talents to become one of the renowned Filipino Talents. In an article written by Goh
(2016), she states that the Philippine government does not provide much support for the
development of art in the country, which in turn could lower the motivation and desire of
Filipino people to pursue a career in the arts. Furthermore, it is also observed that
Filipinos prefer jobs that will provide them with a decent salary, which is often found in
industries such as financing, engineering, science, and health (FutureLearn, 2021). The
fact that the art industry is not one of the most financially-sustainable jobs in the
Philippines makes it more difficult for aspiring artists to support themselves before they
can be properly recognized by the wider Filipino community. These are some of the
main problems of the Philippine art industry which the advocates aim to resolve by
encouraging Filipinos to actively support local artists in their endeavors as well as by
contributing their own works to the industry if possible.
The advocates also hope to eliminate any stereotypes and misconceptions that
Filipinos may have about the art industry. Cristobal (2018) mentions that one of the
reasons why art in the Philippines is undervalued is that art is often considered to be a
hobby by most Filipinos. Unlike most other professions, art is often viewed as a form of
entertainment that is done for the personal satisfaction of the wealthy. In actuality, the
job of an artist can be highly demanding due to the amount of time and creative effort
that goes into producing outputs befitting of Filipino culture.
The advocates believe that constant growth in the art industry can bring about
positive changes to the Philippines’ economy and social environment, but this can only
come about by fostering a healthy amount of respect and recognition towards local
Filipino artists. They should be given more support in their careers by receiving
sufficient financial, moral and emotional support at all times so that they may continue to
create works of art that can help invigorate the hearts and minds of Filipinos throughout
the Philippines. These objectives however can only be reached by promoting public
awareness on the importance of the art industry in the development of the Philippines’
national and cultural identity, thereby ensuring that a new generation of artists will carry
out the practices.
Secondary Messages
The following table presents the secondary messages according to the
audiences, channel, and format:
Audience Message Channel Format
Benildean #ArtisticRevival Social Media Social Media

Student Body, “The Next Generation Platforms such as Postings
and Peers of Filipino Artists.” Facebook, Twitter,
Instagram, etc.
De La #HomeOfArtists Social Media Social Media

Salle-College of #PaintingTheFuture Platforms such as Postings
Saint Benilde Facebook, Twitter,
Instagram, etc.
Local Filipino “Art is a path that leads Social Media Social Media
Artists/Guest to progress.” Platforms, Video Postings
Speakers Conferencing Webinar encouraging
Platforms Filipinos to pursue a
career in art
Filipino Art #TuklasinPH Social Media Workshop Webinars

Community Platforms, Video where aspiring artists
Conferencing are invited to improve
Platforms, Flyers, their skills
Digital Posters
Artelier and #ReimaginedBeauty Social Media Social Media

other Art “Support for aspiring Platforms, Video Postings
Organizations in artists is a must.” Conferencing
the Philippines Platforms, Emails Webinars wherein
Local Filipino Artists
can talk about the
Philippine art industry
Formal Letter to Art

Organizations asking
them to hold
museums and art
exhibits for Local
Artists to showcase
their works
Formal Letter to the

Philippine
Government asking
them to address the
needs of aspiring
Filipino artists such
as financial support
Social Media #SupportLokalSining Social Media Social Media

Specialists Platforms such as Postings
Facebook, Twitter,
Instagram, etc.
General Public #RediscoverYourLimits Social Media Webinar that will

that is interested #CreativityIsPower Platforms, Video discuss Filipino art
in art Conferencing and the opportunities
Platforms, Emails present in the art
industry
NFT Promoters “Realize, not Social Media Social Media

Monetize.” Platforms such as Postings
Facebook, Twitter,
Instagram, etc.
Pseudo-Artists “Find your Creative Social Media Social Media

Spirit.” Platforms such as Postings
Facebook, Twitter,
Instagram, etc.
People who do “It’s all in the Self.” Social Media Social Media
not appreciate “Start with the Self.” Platforms such as Postings
or understand Facebook, Twitter,
the value of art Instagram, etc.
Messengers
The advocates aim to empower the Philippine art industry by creating a website
where Filipino artists can showcase their works and by conducting a webinar where
artists can talk about the current state of the industry. The advocacy campaign can
encourage Benildean students to show greater appreciation towards Filipino art by
asking them to support local artists. Moreover, it can contribute to their income by
providing coverage on less prominent Filipino artists and by promoting their works
alongside other more prominent artists, allowing both sides to attract more customers.
The following are the secondary messengers who will promote the advocates’
campaign:
● Local Artists
The artists whose works are to be shown on the website are volunteers
and supporters of the advocacy campaign for promoting local Filipino artists.
These people will also promote the website to other artists so that they can use it
to promote their own works towards a wider audience. As the main focus of the
website, these people must be capable of providing examples of traditional,
modern and contemporary Filipino art to the current generation of Filipinos. They
can also provide works that relate to present-day issues such as poverty and
corruption so that viewers can see how art plays a role in understanding the
current state of the Philippines.
● Guest Speakers
○ Art educators and advisers
The art educators and advisors who are possible candidates for the
role of guest speakers for the webinar are Mr. John Paulo Q. Herrera, an
Art Appreciation professor, Mr. Philip Adrian Gungab, a local game artist
and educator, and Mr. Eleazar Abraham Orobia, an artist and consultant.
These people can provide a thorough discussion on the inception,
development and current situation of Filipino art as well as the direction it
may take in the future. This would allow the audience to create new
insights regarding Filipino artists and the state of the local art industry as
well as find ways on how to promote them even further. It would also
broaden the audience’s knowledge on Filipino art and how it contributes to
Philippine culture and society.
● Benildean Art Organization (Artelier)

The collaborating organization, Artelier, will aid the advocates in promoting
the website, showcasing select works on their social media accounts, and by
acting as co-hosts during the webinar. They must be knowledgeable on the
various facets of Filipino art which will be discussed during the webinar, and can
provide examples of aspiring artists who can be added on the website. Their
contributions can help ensure that both the website and the webinar will receive
the utmost engagement from the target audiences.
Resources and Assets
The following are the needed resources and their statuses:
Resources Status
Financial The advocates will carry out the advocacy campaign by creating
a website and by hosting a webinar in collaboration with De La
Salle - College of Saint Benilde’s student organization “Artelier”
in order to promote the Philippine art industry. The advocates
will do this by inquiring local Filipino artists for works that can be
displayed on the website, hiring social media influencers to
promote the advocacy campaign on social media, and inviting
guest speakers in collaboration with Artelier for the webinar.
The preparation of the advocacy campaign, from the creation of
the website up until the webinar collaboration with Artelier will
take approximately 6 months. The following are the possible
expenses of the advocacy campaign:
For the Website:

The advocates will create a website where artists, students, and
other Filipino creatives can talk about the Philippine art industry
and showcase their artworks. The advocates will use their own
devices such as laptops and mobile phones in order to create
the website using Wix.com. After the development of the
website, the advocates will contact local Filipino artists via email
or social media and inquire whether they want their art to be
promoted on the said website. Once an agreement is settled,
they will be given a monetary incentive to showcase any of their
artworks on the website. If the artwork is a physical piece, it will
be shipped to one of the advocate’s addresses and a
photographer will be hired in order to take quality pictures for
the website. The advocates will also hire a number of social
media influencers to promote the website on various social
media platforms such as Facebook, Twitter, Instagram, etc. In
collaboration with Artelier, the advocates will also be providing a
monetary incentive to Artelier in exchange for using their social
media accounts to promote select artworks.
Expenses Quantity Amount
Wix Public Domain 6 (months) P4,710.00

- 785.00
Artworks - 5 (artists) 25,000.00

5,000.00/artist
Photographer 1 3,000.00
Services -
3,000.00
Influencers - 3 (persons) 15,000.00

5,000.00/person
Artelier Token - 1 5,000.00

5,000.00
Shipping Fees - 5 1,000.00

200.00/artwork
Total expense for the online platform: PHP 53,710.00
For the Webinar:

The Artelier collaborators and guest speakers will be using their
own devices such as laptops and mobile phones for the online
webinar promoting local Filipino artists. In case of a broken
device, the advocates will prepare at least one extra laptop and
one mobile phone to be used in emergencies. A temporary data
plan will also be provided in case of an Internet outage, and the
costs of electricity will also be covered by the advocates.
Mobile Phone - 1 5,000.00

5,000.00
Laptop - 20,000.00 1 20,000.00
Data Plan - 1 (month) 1,300.00

1,300.00/month
Electricity - 1 (month) 750.00

250.00/month
250 x 3 = 750.00
The advocates would also like to show their gratitude to the

speakers and the people from Artelier by offering them a free
meal and token on the day of the webinar.
Meal - 3 900.00
300.00/speaker
Token - 3 1,500.00
500.00/speaker
Delivery Fee - 3 450.00

150.00/deliver
Token (Artelier) - 1 5,000.00

5,000.00
Total expense for the webinar: PHP 34,900.00
Approximated Total Expense for the Whole Event:

PHP 88,610.00
The advocates are open to in-kind contributions. These can

come in the form of labor work or financial support for the
advocacy campaign. The following are possible financial
supporters:
Possible Target Amount Total Amount

Financial
Supporters
Family of the 10,000.00/family of 40,000.00

Advocates the advocate
10,000.00 x 4 =
40,000.00
DLS-CSB Artelier 5,000.00 5,000.00
Fellow Advocates 5,000.00 5,000.00
Guest Speaker 1,000.00 3,000.00

1,000.00 x 3 =
3,000.00
Private Sectors 1,000.00 1,000.00

(donations via
online wallets)
The following are possible labor work supporters:
Possible Labor Work Amount

Volunteers
Friends for posters and other N/A

publicity materials
Photographer Less 3,000.00 in total

expense for the online
platform
Local Artists (who are Less 5,000.00 in the total

showcasing their work) expense for online platform
per artist who donates
artwork
Total Amount of in-kind donations (Approximately):

PHP 54,000.00
Human The families of the advocates, friends, as well as other students

and college personnel could provide support by sharing, liking,
and promoting the advocacy campaign on social media. This
will allow the advocates to reach out to more people, and may
even lead to them discovering less prominent Filipino artists.
During the webinar, the advocates will invite three guest

speakers who will encourage the audience to participate in the
advocacy campaign. These speakers include local Filipino
artists and Artelier collaborators who aim to promote local art
and agree with the message of the advocates.
The following people are needed to develop the online

information platform and webinar:
For the online platform (to be hosted on a Wix domain):

● Advocates - the advocates themselves will be developing
and maintaining the website on their own with inspiration
and ideas from free online resources such as Pinterest,
free templates, etc.
● Social Media Influencers - advocates of supporting artists

and other creative individuals; influencers (as well as the
advocates) will promote the website for local Filipino
artists using their social media accounts.
● Local Artists - volunteer or hired; these local artists will
be showcasing their artworks on the website.
● Photographer - volunteer or hired; photography services
will be utilized in case the local artists want to send in
physical artworks instead of digital ones. The images that
are taken will be uploaded on the online platform.
Note: The advocates will provide a token of gratitude to each of

the volunteers.
For the webinar (to be livestreamed on social media platforms):

● Three Guest Speakers - are capable of encouraging the
audience to join the advocacy, capable of discussing the
current state of the Philippine art industry and advocate
for the support of local arts.
○ Art Educators - are knowledgeable on the history
of Philippine arts, must be an artist or contributor
to the arts; capable of encouraging students to
pursue a career in art, capable of explaining and
discussing how art impacts culture and economy;
and a dedicated promoter of local arts.
○ Possible Speakers: Mr. John Paulo Q. Herrera,
Mr. Philip Adrian Gungab, Mr. Eleazar Abraham
Orobia.
● Artelier Collaborators (hosts) - are knowledgeable on the
Philippine arts and advocate for the support of local
Filipino artists.
● Advocates (hosts) - the advocates themselves must be
able to share their experiences and tell their stories as to
why, how, and what inspired them to start the advocacy
campaign. They should be able to explain the importance
behind supporting local Filipino artists and their works.
They will also act as the hosts in the webinar alongside
the collaborators from Artelier.
Note: The advocates will provide a token of gratitude to each of

the volunteers.
Infrastructure Most of the resources that will be utilized by the advocates and
volunteers are already available online for free. However, there
are still certain materials that need to be requested from the
participants such as the promotional artwork from the local
artists which will be showcased on the website and social media
sites. The advocates, collaborators, influencers, photographer,
as well as guest speakers will use their respective offices,
homes or workplaces when making the website, posting on
social media and hosting the webinar. Thus, there will be little to
no physical interaction between members, the only exception
being the artists who intend to send their physical artworks to
the advocates who will in turn require the services of a
photographer in order to upload quality pictures on the website.
Furthermore, online platforms such as Facebook, Instagram,

Twitter, Zoom and Google applications can be used for the
webinar. All personnel will be using their own Internet
connection during the event, and in case of connection issues
the advocates will provide a temporary internet connection via a
data plan. The advocates, collaborators, influencers, and guest
speakers will also be using their own devices such as laptops
and cellphones alongside with their own electrical supply.
Should there be issues with the devices, the advocates will
provide an additional laptop and mobile phone for backup
purposes.
Software and IEC tools such as Microsoft Powerpoint, Canva,

Prezi, Google slides, etc. are also available, although the
advocates must first sign up in order to utilize them. Free
software such as Canva will be utilized in creating the graphics
that will be used in promoting the advocacy campaign. Free
software such as OBS and Streamlabs will also be utilized by
the advocates to stream the webinar on social media platforms.
The advocates will also utilize their own personal devices in
order to contact the guest speakers so that each meal and
token can be delivered to their home addresses. Information
such as contact details for organizations and guest speakers
will be provided to the audience during the webinar and through
online posts on various social media platforms.
Strategies and Tactics
The following are the strategies and tactics in order to meet the goals and
objectives of the advocacy:
Objectives Strategies Tactics
To collaborate with Artelier, Conduct a webinar to These are the specific steps to
a student organization in celebrate and conduct an online webinar:
De-La Salle College of promote Filipino art 1. Finalize the concept of the
Saint Benilde, in spreading with the help of webinar, then reach out to
awareness to Benildean Benilde’s Artelier the Artelier organization
students on the Philippine organization. and propose a
art industry through the use collaboration. Set an
of a webinar. intended date and time for
the online campaign.
2. Hire local Filipino artists or
personnel from Artelier as
guest speakers. Guest
speakers may also be
given a web page of the
website if they haven’t
gotten one already.
3. Post the details of the
webinar on various social
media platforms (i.e.
Facebook, Twitter,
Instagram).
4. Hold the webinar during
the agreed upon date.
Send the meal and token
to each of the guest
speakers after the
conclusion of the webinar.
To encourage Benildean Conduct an online These are the specific steps to

students to support local campaign via social conduct an online campaign:
Filipino artists by media to promote the
showcasing their artworks works of Filipino 1. Create a proposal for an
through online exhibits artists. online campaign that
which will be held on utilizes different social
various social media media platforms.
platforms. 2. Reach out to the Artelier
organization and propose a
collaboration. Set an
intended duration for the
online campaign.
3. Hire people (ie. social
media influencers) to
promote the campaign by
creating short promotional
videos.
4. Create digital posters that
showcase local Filipino
artists and artworks.
5. Post the promotional
videos and posters on
various social media
platforms.
6. Provide a link to the
website as well as a means
to contact the advocates
via email in each of the
posts.
To provide a website for Create a website These are the specific steps to
local Filipino artists to where local Filipino develop a website for local
promote their works, artists can promote Filipino artists:
thereby encouraging other their works, and 1. Purchase a suitable
Filipinos to contribute to where students can domain name for the
the Philippine art industry. engage in the works website.
of these artists. 2. Design and launch the
website to the public.
3. Gain permission from the
Office of Digital Technology
to advertise the website on
BigSky.
4. After launching the website
for showcasing Filipino
artworks, contact local
artists via email if they
want to promote their
artworks on the website.
5. Artists that agree to being
promoted will be given a
monetary incentive for
showcasing their work.
6. Create a web page of the
website for each artist that
has been promoted, as
well as an additional page

detailing instructions for
artists who want to ask for
a promotion in the future.
7. Create a web page where
people can donate to
artists that are listed on the
website.
8. Create a web page where
people can ask for any
listed artists for
commissions via a built-in
email and an online
payment feature.
To collaborate with Artelier, Conduct an online These are the specific steps to
a student organization in campaign on conduct an online webinar:
De-La Salle College of Artelier’s social media 1. Create a proposal for an
Saint Benilde, in sharing pages to celebrate online campaign that
the works of local Filipino Filipino art by utilizes different social
artists on their social media promoting select media platforms.
accounts. works that can be 2. Reach out to the Artelier
found on the website. organization and propose
a collaboration.
3. Hire people (ie. social
media influencers) to
promote the campaign by
creating short
promotional videos.
4. Create digital posters that
showcase local Filipino
artists and artworks.
5. Post the promotional
videos and posters on
Artelier’s social media
accounts.
6. Provide a link to the
website as well as a
means to contact the
advocates via email in
each of the posts.
References
artfairmag.com. (2021, December 21). Art Fair Philippines. Retrieved from

https://www.artfairmag.com/art-fair-philippines/
Cristobal, L. (2018, July 12). Why creative work is constantly undervalued. Retrieved
March 28, 2022 from
https://www.cnnphilippines.com/life/culture/2018/07/12/creative-work.html
David, E.J.R. (2013). Brown Skin, White Minds: Filipino-American Postcolonial

Psychology. Information Age. Publishing
Estrella F. (2017, October 10). 13 indigenous artists who kept Filipino creativity alive.
Retrieved from
https://www.cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national
-living-treasures.html
FutureLearn. (2020, July 10). The best paying jobs in the Philippines. Retrieved March
28, 2022 from
https://www.futurelearn.com/info/blog/the-best-paying-jobs-in-the-philippines
Geromo, A. (2019, September 27). B. culture and arts education in the Philippines
(theories, history, and legal basis, the role of Art Education in the 21 St Century.
Retrieved from
https://www.academia.edu/40454963/B._Culture_and_Arts_Education_in_the_P
hilippines_Theories_History_and_Legal_Basis_The_role_of_Art_Education_in_th
e_21_st_Century
Goh, K. (2016, March 14). Challenges in accessing opportunities for visual artists in
Southeast Asia: a comparison between Vietnam and the Philippines. Retrieved
March 28, 2022 from
https://culture360.asef.org/magazine/challenges-accessing-opportunities-visual-a
rtists-southeast-asia-comparison-between/
Guillermo, A. G. (2019). The History and Current Situation of Modern Art in the
Philippines. Retrieved from
https://www.semanticscholar.org/paper/The-History-and-Current-Situation-of-Mod
ern-Art-in-Alice-Guillermo/cfff980cff929b245da7179eb04bbd0be97d6d1c
Javed, N. (2014, April). GLOBALIZATION OR CULTURAL COLONIALISM. International

Journal of Development Research, 4(4), 825-827.
https://www.journalijdr.com/sites/default/files/issue-pdf/1509.pdf
Mateo, F. V. (2016, December 16). Challenging Filipino Colonial Mentality with

Philippine Art. Retrieved from https://repository.usfca.edu/thes/196/
Mercado, A. (2018, December 3). Is the Philippines still interested in contemporary art?.
Retrieved from
https://www.philstar.com/lifestyle/arts-and-culture/2018/12/03/1873577/philippine
s-still-interested-contemporary-art
Primer Media Inc. (2018, July 12). Meet the living national treasures of the Philippines.
Retrieved from
https://primer.com.ph/blog/2018/07/12/living-national-treasures-of-the-philippines/
Stancheva, Y. (2017, November 7). Five Classics of Modern Philippine Art. Retrieved
from
https://www.artdependence.com/articles/five-classics-of-modern-philippine-art/
Appendices
Appendix A - IEC Materials

a. Logo & Branding
b. Publication Materials
c. Online Webinar Registration

d. Certificates
e. Online Website
f. Social Media Accounts (Facebook, Twitter, Instagram)

Appendix B - Turnitin Results

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De La Salle-College of Saint Benilde

School of Management Information Technology

Promoting Local Filipino Artists to Empower the Philippine Art Industry

Prof. Maria Jocelyn Garcia-Jawid, PhD

Beng Hui, Matthew Dylan

April 13, 2022

Goals and Objectives 9

Messages and Messengers 16

Resources and Assets 22

Strategies and Tactics 29

In 2016, Francesca V. Mateo of the University of San Francisco published a

According to Mateo (2016) and in reference to the work of David (2013) on

In contrast to the large-scale social changes brought about by modernism in

As the advocacy suggests, the goal of the advocates is to give recognition to

By partnering with existing art organizations and hosting events designed to

Goals and Objectives

De La Salle-College of Saint Benilde

Local Filipino Artists/Guest Speakers

Filipino Art Community

Other Art Organizations in the Philippines

Social Media Specialists

Supporters and Opponents

Supporters Level of Influence Strategies for Engagement

Benildean Moderate Engage with the artwork of local

De La Moderate Provide engagement with local

Local Filipino High The artists can share their

Filipino Art High Promoting each other’s

Artelier and Moderate The art organizations can share

Social Media Moderate Provide advice to aspiring artists

General Public Moderate Encourage people on social

Opponents Level of Influence Strategies for Engagement

NFT Promoters High Address the issue by allowing

allow the artists to be properly

Pseudo-Artists High Address the issue by allowing

People who do Low Utilize the advocacy campaign to

Messages and Messengers

“Support local talents for the future of the Philippines.”

The primary message of the advocacy is to encourage people to support local

Audience Message Channel Format

Benildean #ArtisticRevival Social Media Social Media

De La #HomeOfArtists Social Media Social Media

Filipino Art #TuklasinPH Social Media Workshop Webinars

Artelier and #ReimaginedBeauty Social Media Social Media

Formal Letter to Art

Formal Letter to the

Social Media #SupportLokalSining Social Media Social Media

General Public #RediscoverYourLimits Social Media Webinar that will

NFT Promoters “Realize, not Social Media Social Media

Pseudo-Artists “Find your Creative Social Media Social Media

● Benildean Art Organization (Artelier)

Resources and Assets

The following are the needed resources and their statuses:

For the Website:

Expenses Quantity Amount

Wix Public Domain 6 (months) P4,710.00

Artworks - 5 (artists) 25,000.00

Influencers - 3 (persons) 15,000.00

Artelier Token - 1 5,000.00

Shipping Fees - 5 1,000.00