Module 8 Deirdre E.

Blancaflor
VISUAL ELEMENTS IN PHILIPPINE Instructor
TRADITIONAL MOTIFS AND CRAFTS Email Address:
PART II [email protected]

Contact Number:
09467642843

Module Duration:
May 9- 11, 2022
GE 006

Course Description

Art Appreciation is a three-unit course that develops students’

ability to appreciate, analyse, and critique works of art. Through
interdisciplinary and multimodal approaches, this course equips
students with a broad knowledge of the practical, historical,
philosophical, and social relevance of the arts in order to hone students’
ability to articulate their understanding of the arts. The course also
develops students’ competency in researching and curating art as well
as conceptualizing, mounting, and evaluating art productions. The
course aims to develop students’ genuine appreciation for Philippine
arts by providing them opportunities to explore the diversity and
richness and their rootedness in Filipino culture.
MODULE SCHEDULE

Week 17-18 Module 8 Visual Elements in Philippine Traditional Motifs and Crafts
• Improvisation on Various Art Form Synchronous Via Google Meet
• Indigenous Art Synchronous Via Google Meet

LEARNING OBJECTIVES

After completing this module, you should be able to:

• analyze how line is interpreted and utilized in traditional crafts;
• develop students’ ability in manipulating the elements of art; and
• document changes and the shifting environment such as terrain, texture and sound through fusion of various elements of art.

INPUT INFORMATION

Lesson 3: Improvisation on Various Art Form

Improvisation in any life or art form can occur more often if it is practiced as a way of encouraging creative behavior. That practice includes learning to use one's
intuition, as well as learning a technical understanding of the necessary skills and concerns within the domain in which one is improvising. This can be when an individual or
group is acting, dancing, singing, playing musical instruments, talking; creating artworks, problem solving, or reacting in the moment and in response to the stimulus of one's
immediate environment and inner feelings. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act.

Improvisation of Art Forms

Improvisation is the process of creating new ideas or a new interpretation of an existing art. Improvisation is not for everyone. Some
artists never improvise and to others it's the holy grail and a lifetime's pursuit of the perfection of their art form. Improvisation is found in most,
if not all cultures. It usually comes in the shape of traditional art forms that have been passed down through the generation s that are constantly
reinterpreted and improvised upon by the new breed of artist.
Improvisation is creating or performing something spontaneously or making something from whatever is available. Improvisation in the
performing arts is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many
different faculties, across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines (Spolin, 1963).
Improvisation is a form of research, a way of peering into the complex natural system that is a human being. It is, in a sense, another
way of 'thinking,' but on that produces ideas impossible to conceive in stillness (de Spain, 2003).

Contact-Body Improvisation
Contact Improvisation is a dance technique in which points of physical contact provide the starting point for movement improvisation
and exploration. Contact improvisation is a form of dance improvisation and is one of the best -known and most characteristic forms of
postmodern dance.
Contact-body improvisation is a form developed in 1973, that is now practiced around the world. Contact improvisation originated from
the movement studies of Steve Paxton in the 1970s and developed through the continued exploration of the Judson Dance Theater . It is a dance
form based on weight sharing, partnering, playing with weight, exploring negative space and unpredictable outcomes. It is a p artner dance form
based on the physical principles of touch, momentum, shared weight, and most quintessentially following a shared point of contact.
What makes contact different from other dance is that partners are often moving in and out of physical contact while rolling, spiraling,
springing and falling. They find ways to "enjoy the ride" and improvise while mutually suppor ting and following each other's movements. The
dancing is unpredictable and inspired by the physical and energetic contact the partners share,
Contact improvisation is an honoring of every moment. There is a sweet surrendering that happens when our bodies stay faithful to
what is happening now. One learns to recognize and differentiate subtle impulses in our movement choices and our partner's ch oices. We begin
to decipher the cues that we give and receive which tell us when to lead or follow, when to go up , when to go down, where to touch, how to lift,
when to slow down, and when to be still. In this form one learns to stay in integrity with each choice, never forcing, never rushing. When body,
mind, and spirit are united in their instinctive wisdom one fin ds one's self at home in every; moment expressing one's true nature.

Sound Improvisation
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition,
which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians.
[Gorow, 2002].
Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and ma ny other
kinds of music. One definition is a "performance given extempore without planning or preparation." Another definition is to " play or sing (music)
extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies ." Encyclopedia Britannica defines it
as "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylis tic norms but
unfettered by the prescriptive features of a specific musical text. Improvisati on is often done within (or based on) a pre-existing harmonic
framework or chord progression. Improvisation is a major part of some types of 20th -century music, such as blues, jazz, and jazz fusion, in
which instrumental performers improvise solos, melody lines and accompaniment parts (Britanica.com., 2017)

Theater Improvisation
Improvisational theater, or improv, consists of a comedic, poignant , or dramatic stage performance, usually with a wide cast of actors
and actresses. These actors and actresses will use spontaneous acting techniques, including audience suggestions to contribute to the
performance's content and direction. In other words, the cast erratically formulates the dialogue, setting, and plot witho ut a formal rehearsal.
Improvisation performers must incorporate a wide array of skills, including listening and maintaining conscious awareness of other actors and
actresses on stage. It requires a sense of spontaneity, instinctive, and social comprehension to improvise without a script. In fact,
improvisational theater has attracted many people across all walks of life for improvement in personal and interpersonal deve lopment.
Improvisational theater introduces an interactive relationship between the cast and the audience. For instance, most improv groups
will engage the audience by asking questions or pulling volunteers from the crowd to induc e excitement. This can sometimes create doubt in
some audience members, provoking skeptics to question whether the act was planned all along.
Improvisational performers work together to define the rules of the scene. Different props, uniforms, and settings are used to co-create
the storyline. Depending on the nature of the performance, various charac ter names and roles will be assigned to each actor and actress. Each
of the improvisers must work together in accordance to the offers proposed by the group, otherwise it may entail the process of blocking,
negating, or denying the scene from developing.

Solving improvisational Challenges

It's easy to let challenges be our excuse for blocked creative ideas. However, we do have a choice: we can either let those c onstraints
derail us, or we can use them as a catalyst for creative problem-solving by learning "play" within them. Some of the problems in improvisation
are:
1. Mental blocks-As you learn your piece or movement, you will find at times your work in improvisation flows easily and at other times,
improvising is much more difficult, and you feel blocked. When that happens, you need to be patient with yourself, since you cannot
expect your mind and body always to be equally receptive. Findings ways to work through improvisational problems is part of t he
process of learning.

2. Remembering new movements-Many students have trouble remembering movements discovered during an improvisation session, but
this problem can be solved through practice. Remembering improvised movement is important because later those movements will be
molded and formed into a study. You will find that the ability to remember movement is comparable to standing outside yourself and
watching as you improvise.

3. Fitting it all together-You'll also discover that movement do not always come forth in a logical manner. For example, the end of a
study may come to you during improvisation before the middle is completed. It requires patience to learn how all parts fit to gether; the
ability to give form to your action may take time. Each person needs the proper environment and enough practice and encouragement;
no two people can be expected to pass through the levels of creative development in the same manner or at the same speed. The goal
is for the movement to fit together with a sense of wholeness and to grow from a natural, or organic development of movements and
phrases.

4. Differences in concept- If a piece seems to be taking shape in a certain direction, explore that direction even if it differs from your
original conception on your work. The creative process requires that you be open to all possibilities as they occur.

5. Mindset- Fear is the number one killer of creativity in anything that you do. It's not easy to get put on the spot in front of an audi ence
and improvise. To pull off a successful performance we must overcome fear, self-doubt and a myriad of distractions. Even though it
may seem like an after-thought, your mindset has a lot to do with your creativity and ability to improvise on the band stand. Fear,
distraction, lack of preparation, mistakes, and a judgmental audience are just a few of the things that can get in the way of a creative
performance. However, each time you perform and improvi se in front of an audience, you’ll become more comfortable and confident; in
turn, focusing on the things that matter like the music itself.

Lesson 4: Indigenous Art

Philippine indigenous arts are as diverse as its islands, as complicated as its waterways, as varied as its languages and as
unique as its people. Throughout the 7,107 islands the Philippine archipelago has, it offers unique places and cuItures where all forms of
arts and crafts can flourish, some can be considered spectacular by the outsider, such as the Ifugao rice terraces that native Ifugaos built
by hand, our own version of the Great Pyramids. But there are still some that could be considered as taboo by other cultures, such as the
distinctive tattoos tribal headhunters have. Philippine arts may not be as popular as other Asian arts such as Japanese and Chinese, but it
doesn't mean that it is any less spectacular.
The arts scene of the indigenous people of the Philippines may not be as popular as the arts of other Asian countries, but it no
means diminishes the variety, originality, and creativity of the Filipinos. They have time and again shown that Filipinos can be with the best
of the world when it comes to the arts field. The ambiance of being in islands may have given so many inspirations to at least attempt to
capture and recreate the powerful and spectacular forces of nature to the best they can, and also during times of need use it to help them
get their basic necessities, not only implying that visual arts is purely for entertainment and decoration, but also for practicality and use.
They personify the enduring Filipino spirit of perseverance in face of adversity, of diligence in duty and triumph in failures.
It is believed that the first inhabitants of the Philippines arrived over many thousands of years ago. It is commonly thought that
they migrated over a land bridge, which existed at that time, from the Asian mainland.
The next known inhabitation is when the Negrito or Aeta arrived in the islands. However, they were driven back by several waves
of immigrants from Indonesia, only to be followed by the maritime people of the Malayan islands. Each of these people brought with them
their culture and art.
Indigenous Philippine art is art made by the indigenous people of the Philippines. It includes works in raw materials such as
extract from trees, fruits, and vegetables. Some of the art treasure of the Philippines are found in rocks in caves, trees and woods.
Some of these indigenous arts are:
1. Architecture
Wander over the world heritage site, Banaue Rice Terraces, Eighth Wonder of
the World, carved from the high Cordilleras over 2,000 years ago. These rice terraces
were carved out of the mountains by the native Ifugao people. The Ifugaos made the
walls out of hardened mud and clay while they flattened the slopes it could hold water
essential for rice growth. It had been the way of life of the Ifugao mountain tribes for the
past 2,000 years, kept alive up to this day.

2. Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard
materials, typically stone such as marble, metal, glass, or wood, or plastic materials
such as clay, textiles, polymers and softer metals. Carving is one of the techniques
used in sculpture. In the north, the indigenous tradition of sculpture survived
the zealous proselytizing of the Roman Catholic Church only among the mountain
people. The most important type of sculpture, in its quality, quantity and continuing use,
are the wooden bulul or bulol carved by Ifugao craftsmen of Mountain Province, Luzon.
Often made in pairs, male and female, bulul represent guardian deities and are placed
in rice granaries to ensure beautiful rice.

3. Weaving
Weaving means to make cloth and other objects. Threads or strands of material are passed under and over each other.
Weaving in the Philippines has different forms, functions and materials. They also vary in design and techniques used. Most of
the common forms of weaving in the Philippines are in the form of hats, mats, bags, baskets and textiles (clothes and blankets).
This brought the ikat technique of resist-dyeing of the warp thread before weaving, the use of the reel for winding the spun thread
and the concept of using textiles in death ceremonies. Weavers were further influenced by imported materials: they imitated the new
designs, integrating them with their traditional textiles. Weaver immigrants appear to have brought the ikat technique to the Isinai and
Ifugao people of Luzon. Their ikat designs appear on cotton warp in black, once dyed with rice field mud, later with indigo. One specialty is
the production in Kiangan and Dupax, Luzon, of narrow G-strings used to clothe the dead.
Abaca fiber derived from the abaca plant is widely grown in certain regions in the country. It is woven mainly to make 'sinamay'
fabric and abaca rope, as well as specialty papers like vacuum bags, currency, and tea bags. There are also handcrafts like bags, carpets
and clothing made of abaca.

4. Pottery
Pottery are objects that are first shaped of wet clay, then hardened by baking. Pottery includes both decorative and practical
items such as bowls, vases, dishes, and lamps. Pottery in the Philippines varies in forms and functions; The forms of the pots are directly
influenced by the functions of the pots and the tradition of the community or local area.
Filipino potters make pots of different sizes, shapes, and designs, which are usually geometric with stylized nature-themed
motifs. Functional pieces are made as the need would arise. An example of this is the “palayok”, which is used for cooking. “Banga” and
“tapayan” are used for storing liquids. There is also the clay-made stove or “kalan”. The “burnay” pottery in Ilocos Sur is still a lively
tradition that continues up to the present.

5. Body Adornment
Physical ornamentation can be categorized into three areas specifically the use of traditional costumes (textile), jewelries and
tattoos. The designs vary depending on the location, users and function of the ornaments. Since the early 16th century, jewelry making in
the country has been practiced in the country. It is believed that the skills of the early Filipino jewelry-makers are adopted from their Asian
neighbors like the Chinese.

Muslim Art
Islam as a religion has long been established since the early A.D. 600s. Along with its emergence around the world, it also paved
way for the development of its own unique style of art. Islamic art place emphasis on creating an artform that is built on the beauty and
respect for the teachings of Islam.
Islamic art is characterized by designs of flowers, plant forms and geometric designs. It is used in calligraphy, architecture
painting, clothing and other forms of fine art. As Islam spread around the world, this distinct form of art has become an integral part of the
identity of its followers, including the Philippines.

The Development of Islamic Art in the Philippines

In the 13th century, traders and missionaries have introduced the religion of Islam in the Philippines. Islamic art meshed with
ethnic culture and produced a Filipino Muslim art that reflects the ethnic background and Islamic identity of the people. During the Spanish
colonization and American occupation, Islam has been concentrated mostly in the South but this did not halt the flourishing of Islamic art.
Global development, however, exposed the Filipino Muslims to its Middle Eastern roots, who have become their main source of
representation of Islam's art.

Art of Filipino Muslims

Islamic art in the Philippines is found predominantly in Muslim ethnic groups where every group offers their own distinct flavor of
Islamic art. This distinct art is commonly seen in homes, clothing and places of worship of Filipino Muslims. Islamic art is characterized by
geometric designs and patterns eliciting focus from the believers.
Islamic art is characterized by designs of flowers, plant forms and geometric designs. It is used in calligraphy, architecture
painting, clothing and other forms of fine art. As Islam spread around the world, this distinct form of art has become an integral part of the
identity of its followers, including the Philippines.

The Sarimanok is a legendary bird of the Maranao people who originate from Mindanao, an
island in The Philippines. It comes from the words "sari" and "manok." "Sari" means cloth or garment,
which is generally of assorted colors (Wikipedia).

Philippine Muslim homes represent their identity therefore Islamic art is seen in their houses. These houses usually contain
framed calligraphy of Qur'an passages in its walls. These ornaments usually are made from Muslim dominated countries like Malaysia,
Egypt and Saudi Arabia brought home by overseas Filipino workers as mementos of their pilgrims.
Clothing reflects the style and colors of their ethnic background. A design related to Islam
that is used in the Philippines is the batik cloth design. This kind of design traces its influence from
Indonesia. It contains abstract themes with geometric and floral design. However, human and animal
depiction is a rare motif in batik.

Today, Filipino Muslims believe that following dress requirements shows their Muslim identity. But they have now considered the
Middle East as reference for the proper Muslim dress. Traditional design is still present in modern dresses however the overall look now
follows according to how Muslims have dressed globally which is loose and more open to Western influences.

Christian Art
When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through
beautiful images. With communication as problem, the friars used images to explain the concepts behind Catholicism, and to tell the
stories of Christ's life and passion. Images of the Holy Family and the saints were introduced to the Filipino psyche through carved santos,
the via crucis (Stations of the Cross), engravings on estampas and estampitas and through paintings on church walls.
The influence of the Christian religion is manifested through the arts and social functions of the society. Among the art forms that
the influences can be seen are in architecture, music, literature and other visual arts. The religion became an instrument for the creativity
of Filipinos to flow in.
Though the ethnic art forms such as pottery, weaving and metalwork were retained, the Spanish friars and the Chinese, the
colony's primary trading partner, were slowly introducing newer art forms. Icons brought by the friars were used as models for sculpture.
Filipino artisans were taught the Chinese brushwork technique in painting. Engraving was also introduced.
Since most art produced during the first two centuries of Spanish occupation were for the church, the friars enforced strict
supervision over their production. Until the 19th century, art was only for the church and religious use.

Painting
The Spanish friars introduced Western painting in the Philippines to artisans who learned to copy on two-dimensional form from
the religious icons that the friars brought from Spain, For the first centuries of Spanish colonization, painting was limited to religious icons.
Portraits of saints and of the I Ioly Family became a familiar sight in churches. Other subject matters include the passion of Christ, the Via
Crucis, the crucifixion, portrayal of heaven, purgatory and hell.
Painters from the Visayas island of Bohol were notocl for their skillful manipulation of the technique. Their paintings of saints and
religious scenes show figures in frontal and static positions. For the Boholano painters, the more important persons would be depicted
bigger than the rest of the figures. Christ normally dwarfs the Roman soldiers in these paintings. Unfortunately, they did not sign their
names on their works and no record of their names exists.

Sculpture and Architecture

Of all the new art forms introduced, the natives took to sculpture instantly. The carving of anito was transformed into sculpture of
the saints. These santos were used primarily for the church altars and retablos. It also replaced the anitos in the altars of the natives'
homes.
Carvings for churches include altarpieces called retablos (usually with niches for the icons),
the central point of any Catholic church. The retablo houses the tabernacle and the image of the
town's patron saint. Usually referred to as a "cabinet of saints", one would see a hierarchy of saints
depending on their importance to the townspeople. The patron saint would be in the middle; less
important saints would be in the periphery. The most elaborate retablos can be seen in the San
Agustin Church in Intramuros. 'Jesus institute the Eucharist' - relief in Calaca Church, Batangas.

Other parts of the church that may have carvings are church doors, pulpits, and carrozas (floats that carry the saints for
processions). The facade of churches may be carved from adobe, coral stone, and volcanic rock, among others. It may have carved
images of saints, floral decorations or leaf decors. In the case of the Miag-ao Church in Iloilo, the facade is decorated with a carved image
of St. Christopher carrying the Christ Child on his shoulders under a coconut tree.

Graphic Arts
Engraving was introduced in the 1590's by the Spanish colonizers. In 1593, the Dominicans published the La Doctrina Christiana
en la Lengua Española y Tagala (The Christian Doctrine in the Spanish and Tagalog Language), first book printed in the country. On it
was a woodcut engraving of St. Dominic by Juan de Veyra, a Chinese convert.
The religious orders owned printing presses and printed mostly prayer books and estampas. The estampas (prints of miraculous
images) usually featured portraits of saints and religious scenes. Estampas andestampitas (smaller version of estampas) were distributed
during town fiestas to the natives.
Francisco Suarez (ca. 1690- ca. 1762) and Nicolas de la Cruz Bagay (1702- ca. 1765) collaborated to depict landscapes, genre
scenes and flora and fauna on the borders of maps commissioned by Fr. Murillo Velarde in 1733. These were probably the first secular
images done in the country. The two also illustrated the pasyon written by Gaspar Aquino de Belen entitled Mahal na Passion ni Jesu
Christong Panginoon Natin Na Tola (The Holy Passion of Our Lord Jesus Christ in Verse), possibly the first pasyon written in the country
(ncca.gov.ph).

Contemporary Art
Contemporary art is the art of the present, which is continuously in process and in flux. The distinction of modern art and
contemporary art could also be a matter of perception and reception depending on the context. Art is the expression of one's feelings
through creating something out of their imagination.
Art is both a product and a process of a creative decision of an artist in his or her attempt to be involved in a dialogue and to
articulate his or her motivations for creation- be it the medium, style, subject, form, etc.
Contemporary art is art produced at the present period in time. Contemporary art includes, and develops from,Postmodern art,
which is itself a successor to Modern art.

Known Filipino Contemporary Artist and Works

1. Maningning Miclat. She was known for her Chinese bamboo Zen paintings and poetry in three languages: Filipino, Mandarin
and English

2. Benedicto Reyes Cabrera better known as "BenCab”, is a Filipino painter and was awarded National Artist of the Philippines for
Visual Arts (Painting) in 2006.

3. Jose Joya was a printmaker, mixed media artist, and a former dean of the University of the Philippines' College of Fine Arts. He
pioneered abstract expressionism in the Philippines. His canvases were characterized by "dynamic spontaneity" and "quick
gestures" of action painting.

4. Onib Olmedo was an award-winning expressionist Filipino painter. He created populist art and depicted the marginalized part of
the society.

5. Napoleon Isabelo Veloso Abueva, more popularly known as Napoleon Abueva, is a Filipino artist. He is a sculptor given the
distinction as the Philippines' National Artist for Sculpture. He is also entitled as the "Father of Modern Philippine Sculpture." He
is the only Boholano given the distinction as National Artist of the Philippines in the field of Visual Arts.

6. Gilopez Kabayao, a Gawad CCP Awardee for Music in 2008, has been playing the violin for Filipinos for decades now. His
passion allowed him to visit various concert venues in the country and share this love for classical music to several generations.

Filipino Musicians and Singers:

1. Victorio C. Edades is a Filipino painter who was the leader of the revolutionary Thirteen Moderns who engaged their classical
compatriots in heated debate over the nature and function of art. He was named a National Artist in 1976.

2. Arturo Rogerio Luz is a Philippine National Artist awardee in visual arts. He is also a known printmaker, sculptor, designer and
art administrator. A founding member of the modern Neo-realist school in Philippine art, he received the National Artist Award,
the country's highest accolade in the arts, in 1997.

3. Abdulmari Asia Imao a native of Sulu, is a sculptor, painter, photographer, ceramist, documentary film maker, cultural
researcher, writer, and articulator of Philippine Muslim art and culture.

4. Eduardo Castrillo is an award-winning Filipino sculptor. He was born in Santa Ana, Manila, the youngest of five children of
Santiago Silva Castrillo, a jeweler, and Magdalena De Los Santos, a leading actress in zarzuelas and Holy Week pageants in
Makati, Philippines. Castrillo was a Republic Cultural Heritage awardee. He is also a jewelry artist and designer.

5. Solomon Saprid was a modern Philippine sculptor who became known for his works in bronze which he created by welding
scraps of metal, producing a characteristic jagged effect.

6. Lea Salonga-Chien, known professionally as Lea Salonga, is a Filipina lyric mezzo-soprano singer and actress who starred in
the lead role of Kim in the musical Miss Saigon, for which she won the Olivier, Tony, Drama Desk, Outer Critics and Theatre
World awards. She was the first Asian to play the roles of Éponine and Fantine in the musical Les Misérables on Broadway. She
also provided the singing voice of two official Disney Princesses: Jasmine in Aladdin (1992), and Fa Mulan in Mulan (1998) and
Mulan Il (2004). Salonga was named a Disney Legend in 2011 for her work with the company.

7. Cecile Licad (b. May 11, 1961) is a renowned Filipina virtuoso classical pianist dubbed as "a pianist's pianist" by The New
Yorker, "her artistry, a blend of daring musical instinct and superb training."

Contemporary music in the Philippines usually refers to compositions that have adopted ideas and elements from twentieth
century art music in the West, as well as the latest trends and musical styles in the entertainment industry. This brief introduction covers
only the works written by the art music composers.
Practices and Movements in Contemporary Philippine Art
Most contemporary Filipino artists somehow do not want to be identified with any single art movement, in the manner of the
Impressionists in 19th century France or the early Modernists in 1930s Philippines, where the members consciously created works
representative of that movement.
Today, a lot of the artists would do works that unconsciously or consciously shift styles with each new exhibit. However, for
categorizing art style purposes, here are some of the styles currently found in a lot of contemporary Filipino art.

I. Social Realism in a Philippine Perspective

A broad description of different artworks whose themes spew biting commentaries on socio-political issues of the country.
According to art critic and writer Alice Guillermo, social realism reared its head during the awakening of politicized Filipino consciousness
during the late 1800s revolutionary period and then again in the First Quarter Storm in the 1970s.
Some of the artists are Pablo Baens Santos, Papo De Asis, Antipas Delotavo, Edgar Talusan Fernandez, Renato Habulan, Al
Manrique, Leonilo Doloricon, Jose Tence Ruiz, the National Artist BenCab, Nunelucio Alvarado, Jeho Bitancor, Manny Garibay, Charlie
Co, Mark Justiniani, Eugene Cubillo.

II. Figurative Art

This is one of the most popular art movements, as figurative art is representational, meaning it is derived from real object
sources. Early figurative art in the Philippines is mostly realistic and classical, but in modern times, surreal depictions of human figures
and conditions entered figurative art. A visual mix of hues, and in some cases, irony are brought in to add drama to an otherwise
commonplace event or situation. Also, figures and anatomy are distorted or altered.
Some of the artists include the old masters like Juan Luna, Felix Resurrecion Hidalgo; artists during the war years and beyond
included Vicente Manansala, National Artists Carlos "Botong" Francisco, Fernando Amorsolo; sculptors Guillermo Tolentino and Anastacio
Caedo; recent figurative artists Elmer Borlongan, Ivan Roxas, and Patrick Flores.

III. Abstract Art or Non-representational Art

Objects from the natural world and also ideas are portrayed using color and form. Abstract art in the Philippines emerged after
World War Il; during this time, modernists were steering away from the more conservative style of Amorsolo, and finding new ways of
expressing themselves. Modernists received plenty of support from two institutions: the Art Association of the Philippines and the
Philippine Art Gallery.
Some of the artists are National Artist HR Ocampo's where works play on Philippine flora and fauna, Fernando Zobel went
through a period of painting black and white before returning to color, Jose T. Joya pioneered abstract expressionism, and National Artist
for Sculpture Napoleon Abueva made use of all kinds of materials such as wood, metal, adobe. The recent generation of abstract artists
includes Tony Leano, Lexygius Calip, and RM de Leon.

IV. Conceptual Art

In this movement, the idea is more important than the object, and encompasses site-specific art installations, three-dimensional
assemblages of discards and non-art elements, performance and video art. It gives emphasis on the artist's thinking while the artworks are
merely documents of the artist's thoughts. Some of the works are ephemeral or temporary, and therefore requires documentation.
Some of the artists: Mideo Cruz, Gabby Barredo, Lirio Salvador, Mark Ramsel Salvatus.

V. Pop-surreal and Lowbrow Arg

An underground visual art movement that is based on comic books, tattoos, punk music and other alternative-pop culture
themes. American illustrator Dave McKean, though more surrealist than Pop Surrealist influenced a lot of young Filipino artists, who
created informal movements within the universities. On the other hand, graffiti art, which utilizes spray paint and even stickers, which was
influenced by the late Jean Michel Basquiat and Keith Haring in the late 70s to 80s, has recently caught on with a lot of young Filipino
artists.
Some of these artists including: Polding Sena, Darrel Ballesteros, Nemo Aguila, Manuel Ocampo, Dondie Fernandez and
Philippine Street Plan is a collective group of graffiti artists such as We Are Analog, Krayolaeater, Weewilldoodle, Caliph8, and Basurobot
among many others.

Practices
Philippine art in the Modern Era the Philippines has evolved into a wide variety of expressions and medium turning the country
into a situation of creative upheavals. Modern Filipino artists have more freedom to explore on his own. They show their love for country
and evolving culture.
Their style is from cross-cultural exposures in the Eastern and Western world yet they have not forgotten their Filipino roots.
Many of them use color for their emotional rather than intellectual values: Jose T. Joya, National Artist, visual arts, 2003. He's
foremost Filipino abstract painter. Hills of Nikko Vicente Manansala, National Artist, visual arts, 1981. He invested each human figure with
inner fortitude, making each one a stoic figure of human dignity. His best abstract sculpture is the "Allegorical Harpoon." Napoleon
Abueva, National Artist in Sculpture, 1976: Carlos "Botong" Francisco, National Artist in painting, 1973. He contributed towards developing
a Filipino imagery drawing inspirations from the customs and traditions of the people. Bayanihan He shows his highly original approach to
figurative painting. Mauro Malang Santos Hernando R. Ocampo, National Artist, visual arts, 1991. He aimed to deemphasize a life-like
representation with the natural world. Pentecostal Series- c1971 Prudencio L. Lamarrosa. He is different from the artists of his generation
because of his intellectual detachment amid all the ill-effects of technology on the world environment. Amburayan Princess Shanghai by
Roberto Rodriguez Chabet. This artwork by Chabet is the only work in this portfolio that does not have a drop of paint on the surface.
Intramuros by Ibarra de la Rosa. The Intramuros creates a symphony of colors. The subject gives him the basic pattern that allows him to
see the effect of different color combinations.
LEARNING ACTIVITIES

Discuss the indigenous art of the Filipino people. What are the main features of the Filipino indigenous art?

ASSESSMENT AND EVALUATION

• Short quiz through Google Form. Synchronous

• Summative Test
Accomplished task
ASSIGNMENT

Differentiate Christian art from that of the Muslim art, in terms of motif, characteristics and traditions.

LEARNING RESOURCES

As students of art, how can you help the minority tribes in Muslim Mindanao develop their handicraft such as weaving? List down your priorities in
helping/assisting them.

• Module
• Supplemental reading materials posted in closed group
• Audio-video Presentation

REFERENCES

• Art Appreciation for College Students by Roman D. Leano, et.al