Chapter 5

SOULMAKING (ART MAKING)

Part 04
Introduction

Artists typically don't use the word "innovation" to characterize their work,
because innovation implies the instrumentalization of these multiple forms of
consciousness to achieve a specific goal. Rather, they talk about creativity, a
word that signifies a more open-ended conversation- one that is process-
oriented instead of goal-oriented. Art schools attempt to foster an environment
that is safe for this open-ended creative process to unfold. The goal is to create
an experimental laboratory where, as in science, there is an expectation of risk
and recognition of the inevitability of failure.
Lesson 1: The Process of Art Making and Acts of Appropriation
Introduction
No one is really an expert in art. It is truly a lifetime process that never ends. Formal tr
though not critical, helps in the sense that it can speed up one's learning, having the benefit o
teachers and students' experiences. A beginning art student will learn visual perception (basic dra
two- dimensional design, three-dimensional design, history of western art, perspective, lettering
theory, figure drawing, and more; ceramics, sculpture, photography, printmaking, art history, p
and more come after the first year. Though perhaps not commonly known, it requires a lot of s
learn how to make art. Even if self-taught, one must go to museums, galleries, read books, talk t
artists, etc. to learn about painting, sculpture, printmaking, photography, or contemporary me
really must become more than an area of study - it becomes a way of life, in that an artist is alw
artist; it is a characteristic rather than an activity. It means to always be searching, looking, th
feeling. Many times, a day, one will see things in nature, in a newspaper or magazine, when d
etc. that strike us and try to make note of for possible use in the future. It may be an object or
but more often it is seeing a color relationship of two or more colors together; or an interestin
effect; an arrangement of patterns in space.
Soulmaking (Art Making)
Art making is a fun and rewarding way for people to express themselves and to learn a broad
range of skills and concepts. In making art, students explore the materials and techniques used
by artists and architects and experience the decision-making practices that artists have used over
the centuries. While many art educators emphasize the creative process and exploration through
art, others focus on developing studio skills and a fully realized final product. Students interested
in working further in their craft become amateur or professional artists.

When students make art, they can express their feelings, fantasize, tell stories, and give their
ideas concrete form. They can reflect and draw upon their everyday experiences and
observations. Students find relationships between objects, consider alternative, and make
choices. They identify with the ideas and feelings explored and expressed by well-known artists.

Art making is a fascinating and effective way to introduce students to a wide variety of
textures and help them develop their tactile exploration skills. Younger students develop their
motor skills when working on construction or modeling projects that involve manipulating
paper, cardboard, clay, plaster, and other materials.
Art Making Process
In the art making process students receive guided instruction on how to start and
finish a typical art project using efficiency and best practices.

Phase One begins with sketching, grid-lining, drawing, or filling in under painting. In
this phase, students learn about introductory best practices on techniques and
approaches, and understanding the concept.

Phase Two includes adding multiple layers of tone, color, or paint within an artwork.
Here, students are required to problem solved and are encourage in their art to
explore,manipulate and master technique based art applications.

Phase Three end with students adding final detail and craftmanship showcasing
their finished product. This includes demonstrating the understanding of the art
elements, habits of mind and effort, communication skills, habits of work, composition
concepts and execution into well crafted project.
STAGES OF ART MAKING
2

PERCOLATIO 4
1 N 5
INSPIRATION While it’s not the most
glamorous part of the
3 CREATIO
PREPARATIO N
Is the time during
creative process, the zzzzz
x
This in one of the most
“percolation” period is Can be N
confused with which you are
REFLECTIO
exciting moments in the
vital to creating art. the“percolation”period,b solidly on your N
After you create a piece of
process of creating art:
Basically, this is the time ut it is more active and
path. You have your art, there might be a slight
that beautiful moment that elapses after you’ve focused time. You’ve tizzy of activity:sharing it
pen to paper, your
when inspiration strikes. had your idea, but before settled your inpiration with family and friends
you start making art. it brush to canvas.
and how you’d like to delivering it to a client or
can tanspire in many proceed. Now, it’s a You are creating.
hanging it on the wall. But
different ways. matter of figuring out regardless of the end point of
how to make it happen. the art, its completion often
leads to a period of
reflection.
Seven Da Vincian Principle
One of the biggest questions about innovation is "how do we maintain it
over time?" After all, there are lots of one hit wonders, but only a few people
can continue to come up with innovative ideas on an ongoing basis.
While it would be impossible to do justice to this genius in one blog post,
here under is the Seven Da Vinci Principles that help define da Vinci’s
approach to life and as such innovation (Gelb, 1998). Those seven principles
are:
Curiosita Dimonstrazione Sensazione
(Curiosity): (Demonstration) (Sensation)
Continual refinement of the senses as
An insatiable curious approach to A commitment to test knowledge
the means to enliven experience. To be
life and an unrelenting quest for through experience, persistence,
Dimonstrazione innovative we must be aware of what is
continuous learning. After all, and a willingness to learn from
(Demonstration) going on around us. One of the
have you ever met a successful past mistakes. This is pretty much
important business topics that it relates
person who does not claim to be the scientific method applied to
to that is active listening. Far too often
a veracious learner? everyday life. Thinking back to
in business we only listen passively and
our WD 40 example in an earlier
as a result miss vital information that
discussion, it wasn't the first effort
could serve as the inspiration for some
that worked, it was the 40th.
new idea.
Sfumato (Going Up Arte/Scienza (Art Corporalita
in Smoke): and Science) (Of the Body):
This is about maintaining a healthy
The literal translation for this Developing a balance between
body as well as a healthy mind. Have
term is going up in smoke. It is logic nd imagination. After all,
Dimonstrazione you ever seen an unhealthy person who
about our willingness to embrace imagination without logic is
(Demonstration) was creative? While there are a few
ambiguity, paradox, and daydreaming, and logic without
exceptions here and there, they are very
uncertainty. As the old saying imagination is boring. Other terms
rare. One of the core concepts of da
goes, the only two things that are for this are balancing between art
Vinci's approach is keeping our bodies
certain in business are and science as well as whole brain
fit being a function of keeping our
uncertainty and change. thinking.
minds fit. Fit minds lead to more
innovative and creative solutions.
Connessione
(Connection)

This is the simple recognition of

the interconnectedness of all
Dimonstrazione
things and phenomena. As we
(Demonstration)
talked about early on, it isn't
always just an issue of coming up
with something totally new,
sometimes it is about seeing the
links between how to use old
things in new ways
Acts of Cultural Appropriation
Cultural appropriation is a concept in sociology dealing with the adoption of the elements of a minority culture

by members of the dominant culture (Young 2010). It is distinguished from equal cultural exchange due to the

presence of a colonial element and imbalance of power (Wikipedia).

We live in a culture that overflows with images and objects. From television to the Internet, from the mall to the

junkyard, we are surrounded by words, images, and objects that are cheap, or free and throwaway. It is not surprising

that artists today incorporate this stuff into their creative expression. Appropriation is the practice of creating new

work by taking a preexisting image from another source- art history books, advertisements, the media - and

transforming or combining it with new ones. The three-dimensional version of appropriation is the use of found

objects in art. A found object is an existing object- often a mundane manufactured product- given a new identity as an

artwork or part of an artwork. Some common sources of appropriated images are works of art from the distant or

recent past, historical documents, media (film and television), or consumer culture (advertisements or products)
Acts of Cultural Appropriation
Sometimes the source is unknown, but it may have personal associations for the artist. The source of an

appropriated image or object can be politically charged, symbolic, ambiguous, or can push the limits of imagery

deemed acceptable for art. Many artworks were composed of objects appropriated by everyday life, like clothes,

newspapers, etc. and inserted on the canvas. Marcel Duchamp was among the first artists using "readymade" objects

in art, as they were produced. Famous is his piece "Fountain" where he just used an ordinary urinal Also important is

the new signature the artist apposes at the appropriated image since it expresses another layer of performative

agency.Peggy Phelan claims that "signature verifies the authentic, singular subject, while the practice or performance

of signing repeats and copies a previous version of the unique. Cultural appropriation can involve the use of ideas,

symbols, artifacts, or other aspects of human-made visual or non-visual culture (Schneider, 2003). Cultural

appropriation is often portrayed as harmful in contemporary cultures and is claimed to be a violation of the collective
Acts of Cultural Appropriation
Peggy Phelan claims that "signature verifies the authentic, singular subject, while the practice or performance of

signing repeats and copies a previous version of the unique. Cultural appropriation can involve the use of ideas,

symbols, artifacts, or other aspects of human-made visual or non-visual culture (Schneider, 2003). Cultural

appropriation is often portrayed as harmful in contemporary cultures and is claimed to be a violation of the collective

intellectual property rights of the originating, minority cultures, notably indigenous cultures and those living under

colonial rule. Often unavoidable when multiple cultures come together, cultural appropriation can include using other

cultures' cultural and religious traditions, fashion, symbols, language, and songs. Often, the original meaning of these

cultural elements is lost, or distorted, and such displays are often viewed as disrespectful, or even as a form of

desecration, by members of the originating culture. What makes cultural appropriation bad is that the dominant culture

that appropriates elements of from another usually are ignorant of the original context why said cultural elements

existed in the first place. And what's worse, the dominant culture does not bother to learn said context.
Acts of Cultural Appropriation
The act of appropriation is basically exploitative in nature because it robs minority cultures of the credit they

deserve. This is especially true when it comes to art forms and music, where the borrowing dominant culture is

perceived as creative and innovative while the original culture is perceived as lacking in the same, where the truth is,

said culture was the one who came up with the music and the art forms in the first place.

The differences between types of appropriation are crucial in determining whether and how an instance of

appropriation is objectionable. There are at least five quite different sorts of activity called cultural appropriation:

1. Object Appropriation -This appropriation occurs when the possession of a tangible object (such as a sculpture)

is transferred from members of one culture to members of another culture removal of the decorations from the

Parthenon by Lord Elgin is often regarded as a case of material appropriation. The transfer of a totem pole from the site

of a Haida village to a museum is another case of material appropriation.

Acts of Cultural Appropriation

2. Content Appropriation - This form of appropriation involves the reproduction, by a member of one culture, of

non-tangible works of art (such as stories, musical compositions or dramatic works) produced by some other culture. A

musician who sings the songs of another culture has engaged in non-material appropriation, as has the writer who retells

stories produced by a culture other than his own. The Lettermen's rendition of Dahil Sa Iyo could be an instance of

content appropriation other than his own. The Lettermen's rendition of Dahil Sa Iyo could be an instance of content

appropriation
Acts of Cultural Appropriation
3. Stylistic Appropriation - Sometimes artists do not reproduce works produced by another

culture, but still take something from that culture. In such cases, artists produce works with stylistic elements in

common with the works of another culture. White musicians who compose jazz or blues music are often said to have

engaged in appropriation in this sense. Similarly, white Australians who paint in the style of the aboriginal peoples would be

engaged in stylistic appropriation. The use of coat and tie by Filipinos is another example.

4. Motif Appropriation - This form is related to stylistic appropriation. Sometimes artists are influenced by the art of a

culture other than their own without creating works in the same style. Picasso, for example, was influenced by African

carving, but his works are not in an African style. Similarly, Ravel was influenced by the jazz of African-Americans, but his

compositions are not in a jazz idiom. Rather than appropriating an entire style, such artists have appropriated only basic ideas

or motifs.
Acts of Cultural Appropriation
5. Subject appropriation - This occurs when someone from one culture represents members or aspects of another culture.

Many of Joseph Conrad's novels involve subject appropriation, since Conrad frequently wrote about cultures other than his

own. W. P. Kinsella's stories about the Hobbema Indian reserve are often cited as examples of objectionable subject

appropriation. Many people who have written on cultural appropriation have not been sensitive to the difference between the

various types of appropriation. Reasons may exist for thinking that instances of one sort of appropriation are objectionable. The

same reasons may be unable to show that another sort of appropriation is in the least problematic. Nevertheless, artists do make

ethical decisions in such areas as the appropriation of others work, what materials they use in their work and how they use

them, the digital manipulation of their work, and what role they play as observers of the events they capture in their art. And, as

we have seen, museums and other places in which art is exhibited play distinct roles and have responsibilities in how art is

preserved, interpreted, and displayed

Lesson 2: Textile Arts of the Minorities
Textile Art
Textile art is the process of creating something using fibers gained from
sources like plants, animals, insects or synthetic materials. Making textiles is
an extremely old art form.
Textile fragments have been found dating back to prehistoric times and
there's a good reason for this. Think of how cold winter can be. How would
you feel if you didn't have warm clothing? People developed textiles to keep
warm, to protect surfaces and to insulate dwelling. Examples of such textiles
include tapestries, rugs, quilts, and of course, clothing. People
also used textiles to make objects that signalled status or commemorated
important events.
.
Examples of this type of textile include things like flags, military uniforms,
or ceremonial banners.
The textile arts also include those techniques which are used to embellish or
decorate textiles dyeing and printing to add color and pattern; embroidery
and other types of needlework; tablet weaving and lace-making.
Construction methods such as sewing, knitting, crochet, and tailoring, as well
as the tools employed (looms and sewing needles), techniques employed
(quilting and pleating) and the objects made (carpets, kilims, hooked rugs,
and coverlets) all fall under the category of textile arts.
The T’nalak Process
The T'nalak is a traditional cloth woven y the T'boli women of Lake Sebu and to
them this unique fabric represents birth, life, union in marriage and death. It is often
used as blankets and clothing and in rare occasions, it is used in the royal wedding
ceremonies. The T’nalak is sacred and represents the T’boli uniqueness and identity
as indigenous group of people. Making the T’nalak is a skill that young T’boli
women learn through their mothers, grandmothers or even sisters. Most of the
existing weavers today come from the generation of T'nalak weavers that go back
to their ancestors. The young T’boli women are introduced to the process by first
assisting in the initial stages. As they progress, they move on the dyeing, weaving
and tying of the knots. It can take to around one to five years of constant practice
for a T’boli woman to fully learn the full production method. Weaving the T'nalak
is a tedious and requires numerous steps for a single cloth to be completed.
T'nalak and T'boli Art
Tnalak and Tboli Art

The Tboli are famous for their dream-inspired and spirít infused Tnalak weavings, but also

for their embroidery, brass casting and other crafts. T’nalak weaving is an art form perfected over

decades of practice by Tboli women, and only a handful of master weavers can be considered

true dream weavers', the works of whom are highly valued.

T'nalak and T'boli Art
T’nalak, a deep brown abaca-based cloth tie-dyed with intricate designs, is produced by women of

Mindanao's Tboli Tribe. It is one of the best known cultural products of the Philippines. Tnalak production

is a labor intensive process requiring a knowledge of a range of skills learned from a young age by the

women of the tribe. First, abaca fiber is stripped from the abaca tree, cleaned, dried and separated into

strands. These strands are then carefully selected, hand tied and rolled into balls. Natural vegetable dyes

produced by the Tboli weavers themselves are used to stain these hand spun abaca fibers. The Tnalak is then

woven, usually in tones of red, brown and black, with the end product requiring months of work to produce

a single, unique weaving.

T'nalak and T'boli Art
Tnalak has great significance for the T’boli. Tnalak designs have been passed down

through generations and come to the best weavers in dreams, brought to them by their ancestors.

Tnalak weavings are one of the traditional properties exchanged at the time of marriage and are

used as a covering during birth to ensure a safe delivery. The T’boli believe that the Tnalak is

infused with spiritual meaning, and as such there are a variety of traditions surrounding its

production and use. One should not step over a weaving in progress, and doing so is to risk

illness. Cutting the cloth will cause sickness or death, unless done according to traditions. It a

weaving is sold, a brass ring is often attached to appease the spirits. And while weaving a T’nalak,

Tboli women practice abstinence in order to maintain the purity of their art.
T'nalak and T'boli Art
The T’boli have a variety of other traditional art products. The skills inherent in production

of these Tboli products are highly valued, and as such many women learn each from their mothers

and grandmothers. The T’boli are excellent embroiderers and brass casters, with their products

prized well beyond the borders of their community. T’boli jackets are a sought after fashion

accessory with high society women in Manila, for example. They are also known for their bead

jewelry and wood carving. Rounding out these cultural practices are a rich tradition of dancing,

singing and instrument playing, and Tboli musicians and dancers have performed at major events

around the world

Dagmay
The Mandaya is one of Mindanao's surviving minority tribes of the Philippines. They live
in the mountainous areas above the coastal town of Davao Oriental particularly in Boston, Cateel,
Bagangga, Caraga and Manay. For many generations the Mandaya have woven cloth from fibers of native
abaca tree, a variety of the banana family, which is abundant in the region. The finest grade of hemp
extracted from abaca stalks is stripped pounded, combed then prepared for dyeing by tying thus, the word
tie-dye. The dyes are made from mud, root and other organic materials.

This cloth is known locally as dagmay. It is distinguished from other tribal weaving by the
intricate figures and patterns depicting the folklores and religion of the tribe. The Mandaya have
carried the human and crocodile motifs to their highest expression. The crocodile is held sacred s shown by
the frequency with which it appears in their decorative design. This art is handed down from generation.
There are no patterns copy. Each design is an expression of the weaver.The unique culture of dagmay
weaving by the Mandayan tribe earned them the title "Lumad that Weave Dagmay."

An indigernous people group Sildap is working on a book on the 11 tribes Mindanao and in one of their
research, has come upon the story of the origin of the dagmay among the Mandaya tribe. In Sildaps
version, a tamisa was in a river, when he saw a beautiful cloth in a rock near the Balete tree. The cloth was
so beautiful, he decided to bring it home. When the Tagamaling (spirit living in the Balete) found that he
lost the cloth, he was very mad and cursed the one who took it.
Dagmay
You’ll die, wrapped by the cloth you’ve stolen. Right in that instant, the boy died and
the people asked forgiveness from the Tagamaling. The Tagamaling appeared in their
dreams, finally appeased, and taught them how to make the dagmay.Among the
Mandayas, the dagmay has been worn as women's skirts but it is also used as blankets and
to wrap the dead. Each design, however, carries with it a certain story. Most of the
traditional designs, which can easily date back to over a hundred years, have come to them
in dreams. The design that inluded the binaybayan, the otaw(man), the patolla, buaya,
(crocodile), bilaan and the utaw and the kallungnan(which refers to the poles wherethe
dagmay cloth is rolled, representes by stripes in the design.
Pis-syabit
Pis Syabit is the traditional cloth tapestry made from cotton or silk worn as a
head covering by the Tausug of Sulu. The most recognized community of Pis Syabit
weavers in Sulu are from Barangay Guimba Lagasan in the town of Parang. This is
also where the late master weaver Darhata Sawabi, a GAMABA Awardee of 2005
(National Living Treasure) came from. These community of weavers are well
known for their expertise in the craft, their bold contrasting colors, evenness of
their weave and their faithfulness to traditional designs.

Unlike other traditional weaves, Pis Syabit are intricately woven at the houses
of the Tausugs. Most of the elder weavers devoted their full time to their craft. They
even teach and pass on this tradition to interested young generation. Pis svabit
weaving is a difficult art. Preparing the warp alone already takes three days. It is a
very mechanical task, consisting of stringing black and red threads across a banana
and bamboo frame to form the base of the tapestry.
Pis-syabit
Pis syabit is characterized with intricate geometric patterns of colors segmented into
the smallest squares, triangles and diamonds. It is a multi-purpose head wear that may
be worn on the shoulder, tied along the hilt of the kris or wrap around the head used by
Tausug men, usually as a sign of rank. In modern times, pis syabit is used to decorate
households such as frames, curtains, and giveaways.

Sawabi remains faithful to the art of pis syabit weaving. Her strokes are firm and
sure, her color sensitivity acute, and her dedication to the quality of her product
unwavering. She recognizes the need for her to remain in the community and continue
with her mission to teach the art of pis siyabit weaving. She had, after all, already been
teaching the young women of Parang how to make a living from their woven fabrics.
Some of her students are already teachers themselves. She looks forward to sharing the
tradition of pis syabit weaving to the younger generations.
Pis-syabit
Seputangan
The Yakans settled originally in Basilan island and in the early seventies, due to
political unrest which led the armed conflicts between the militant Muslims and
government solders, some of them settled in the region of Zamboanga City. The Yakan
Village in Upper Calarian is famous among local and foreign tourists because of their
art of weaving. Traditionally, they have used plants like pineapple and abaca
converted into fibers as basic material for weaving. Using herbal extracts from leaves,
roots and barks, the Yakans dyed the fibers and produced colorful cơmbinations and
intricate designs.

The seputangan is the most intricate design worn by the women around their waist
or as a head cloth. The warp and primary weft are of cotton and the supplementary
weft is silk. The supplementary weft work is discontinuous, a type of work in which
the various colors are inserted in the proper place by hand.
Seputangan

Yakan people are recognized for their remarkable technicolor geometric weaves
and the distinctive face decorations used in their traditional ceremonies. The Yakan
are kind and loving people that embody a non-materialistic culture and live in
close-knit communities.
Inaul
Unlike other traditional weaves from various ethnic groups in the country
which now only uses loom products on special occasions, the inaul is still very
much an everyday item in Maguindano province. Inaul is a time-honored
weaving tradition of the Maguindanao people usually made into malong or
wraparound skirts commonly and regularly used by both sexes. The
Maranaos of Marawi City also has this weaving tradition. Inaul has more than 20
designs with riyal the heirloom piece being the rarest since it is no longer being
produced and hard to find. Other notable designs include umpak which is
embroidered-laden and hard to do, binaludto or rainbow, panigabi or taro, and the
rare tie-dye binaludan called ikat by the T’boli and the people of Cordillera. The
three types of threads being used in weaving are tanor which is cottony, the silky
rayon, and katiyado which is the shiny type. Rayon and tanor can be mixed
together to form a malong called "mestiza."
The colors are also reflective of the Maguindanao culture. Red means bravery,
black for dignity, white for sadness and green means peace.

Today, inaul is no longer confined to malong and is now being made into
modern clothing such as gowns, polo and trousers.

Given the focus and promotion earned by Inaul through the Inaul festival, the
fabric was catapulted into the limelight resulting to the continued rising of demand
for this cultural icon.
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