PHILIPPINE CONTEMPORARY ART

INTEGRATIVE ART
- different art forms are distinct from each other, but not necessarily independent of each other  2 or more art disciplines of
can be used to create integrated artwork 
- people of different cultures having contact with each other lead artists lift styles & techniques from different practice
- spoken word poetry (contemporary artwork) written to be read onstage, usually in intimate setting
Art- ars (Latin, “skill”), techne (Greek, “technology”); expression of ideas/feelings through creative process/imagination
Visual Arts- through structure, image, tactile work; integrated visual art combines several media to create unique artwork
Literary Arts- through writing
Poetry -oldest forms of literature; imaginative & figurative language
- rhythmic & w/ syllabic counts (sonnet) or free verse
Prose – written in complete & grammatical narratives rather than figurative language (not poetry) (short story, novel)
Drama- written to be performed & not just read, referred as “plays”
Performing Arts-through written lyrics, text, dramatization, & multimedia production
- require musical theatre, dance, & drama; combination of art form (literary art for material, visual art for stage design

ELEMENTS
Space- (visual art) emptiness; positive space (enclosed in shape), negative space (opposite part which the shape is enclosing)
- (literature & music) pauses & interval between lines/ notes
Line- (visual) series of points; form (curved, dotted, broken), direction (vertical, horizontal, diagonal)
- horizontal  calmness (sunset); vertical  loftiness; diagonal  (dynamism)
- (theatre) script lines; (dance) routine of steps executed
Shape- formed by connecting both ends of line; 2D w/height & width
Geometric- enclosed & structured Abstract- lack definition, asymmetrical, free-flowing
Organic- nature, free flowing
- circlelove, harmony, infinity; trianglestability (upright), tension (upside down); squarefamiliarity, equality
Form- 3D, w/added volume, more depth & doesn’t feel flat
Color- (visual) natural environment phenomenon. Scientifically, hues of different wavelengths are formed when light hits prism
- lightness/darkness, coolness/warmth
Value- (visual) color lightness/darkness; (music) pitch, highness/lowness of sound
Texture- (visual) tactile/illusory surface of piece; (music) mood/quality of composition

PRINCIPLES organization of elements

Scale & Proportion- relationship of elements (relative size of parts of a whole)
- golden ratio is believed to be a universal principle of good structure & design
Harmony- different parts produce overall positive impact
- (visual) artwork unity in arrangement; (music) simultaneous sounding of different notes to produce sound
Variety- diversity; adding multiple, different elements to break monotony of artwork & make it more interesting
Movement- basic principle of nature associated w/ environment (living/nonliving, heavenly bodies)
- fundamental principles in dance & theatre ; incorporates passage of time (illusory manner) in artwork
Rhythm- repetition of elements to produce pattern
- (visual) repeated design elements create a flow & lead the viewer’s eyes; (music) note distribution
Balance- even & equal elemental distribution
- informal/asymmetricalunequal; formal/symmetricalequal
Emphasis- greater impact given to an element
Subordination- elements as supplement to emphasized element in design

PHILIPPINE ART FORMS

 Pre-colonial
- indigenous art had social utility
- Kashawing ritual prayer for abundance during harvesting season, re-enactment of legendary pact between ancestors & spirits (Lanao)
- agung ensemble (music accompanying rituals); imitation of animal movements: banog-banog (Higaonon, B’laan), man-manok
(Bagobo); talip (courtship ritual in Ifugao)
- bulul (carved statue of granary god of Ifugao), okir (curvilinear decoration w/ Indian & Islamic influence)
 Spanish
- brought Catholicism & Western culture in 6 th century birth of religious/Christian folk arts
- pasyon/pabasa (narration Christ’s passion on Lent); awit & korido emerged secular music in Pampanga, Bicol, Iloilo, & Ilocos;
kundiman & balitao (music) ; sarsuwela, senakulo, komedya
- colonial abuse sparked revolutionary & subversive themes
 American & Japanese
- Americans introduced education system that required speaking English
- brought Philippine Literature in English poor language use as Filipinos only mimicked their teachers
- Dead Stars (Paz Marquez Benitez, 1925)  birth of modern Philippine Literature in English
- popularized secularism (vaudeville/bodabil or noontime shows)
- School of Fine Arts & UP gave birth to Filipino artists educated in Western ways (Fernando Amorsolo, craftsmanship in use of light)
- Japanese popularized nationalism (effect of war & repression of Filipinos)
 Philippine Contemporary Arts
- started during Marcos’ reign; culture & arts were focused in his vision of “New Society”
- Cultural Center of the Philippines focused on urban planning & architecture
- Martial Law declaration (1972-1981) resulted to dictatorship & human rights violations social realism (writers used pen names)
- literary, visual, & performing arts expressed dissent  Prometheus Unbound (Jose Lacaba, “Ruben Cuevas”)- acrostic with strong
sentiment against admin published in Focus Magazine
- democracy & freedom (end of Martial Law) paved way for more diverse & expressive artists where art is used for self-expression
- contemporary art blurs lines across artistic disciplines & integrates various elements & principles
 CLASSIFICATION OF ART FORMS IN PHILIPPINES
PERFORMING ARTS
- performer do movements accompanied by sound in particular space & time for audience
- uses human body as part of its medium & its dependency on time & space; defined by its interdisciplinarity & how it integrates art for
- shaped by country’s history of colonization; characterized by diverse cultural practice; rooted in indigenous practice of rituals
- rituals of early Filipino ancestors are origins of theatre arts; fulfills necessary materials needed in theatre
- shamans /babaylans perform ritual involving going through a trance; its choreography involves partaking of animal sacrifice
accompanied by crowd chanting/rhythmic playing of indigenous musical instruments; done in front of entire community
Auditory- music
a. Rhythm - movement, fluctuation, variation marked by regular recurrence/natural flow of related elements
b. Pitch – highness/lowness of sound
c. Melody- rhythmic succession of single tones organized as aesthetic whole
d. Musical Notations - act, process, method, instance of representing by a system/set of marks, signs, figures, characters used i
e. Harmony -combination of simultaneous musical notes in a chord
f. Timbre - perceived sound quality of musical tone which sets it apart from other tones (soft, rough, hoarse, cold)
Kinesthetic- dance
a. Human body - center of performance activity; main medium in performing arts
b. Arrangement/Pattern – movement/step which enable to perform in organized manner
c. Time & space - performing arts depend highly on time and space; other elements must come together to complement
available & selected time & space
Dramatics –theatre
a. Stage direction - instructions indicating movement, blockings/ positions in performers’ speaking, movement, & acting 
b. Narratology -narrative structure of piece 
c. Scenic design -artistic design that creates background/scene to complement performances

VISUAL ARTS
- manifestations of cultural influence to country; marked by ethnic, Spanish, American, & contemporary traditions
- early artworks by indigenous had social & communal function; involved in sculpting, pottery, weaving; had spiritual significance
- Spaniards added religious dimension to painting & sculpting; focused on saint & Biblical events
- Americans saw push & pull between liberated & conservative beliefs as it saw rise of more secular themes
- marked by how it rebels against rules of form; rise of new media & advanced technology made more people open to experimentation
& mixing of forms
Two-Dimensional Expression -mainly flat, length & width
a. Alla Prima– “wet-on-wet”; paint over layer of wet paint  h. Stained Glass- made of colored glass
b. Encaustic –“hot wax painting”; add pigment to beeswax & use it to paint   i. Tapestry- textile art woven on vertical loom 
c. Tempera Painting- add pigment to water-soluble binder medium (egg yolk) j. Drawing- use writing material to mark 2D canvas
  d. Fresco- mural painting technique, painting over fresh plaster  k. Printing- image is formed using master template
e. Water Color- pigments are suspended in a water-based solution  l. Photography- create image w/light
f. Oil on Canvas -adding pigments to drying oil for binder 
g. Mosaic -small pieces assembled together to form image
Three-Dimensional Expression- 3D w/volume
a. Molding- reshaping 3D object (marble/plaster)to create new form 
b. Carving- scraping off parts of material to create new form 
c. Etching- using strong acid on surface to create a design 
d. Installing- site-specific artwork designed to transform & include space in its message 
 Multi-Dimensional Expression - length, width, mass, time, & space
a. Lashed construction  c. Post & Lintel construction e. Arches
b. Truss construction  d. Cantilever
 NATIONAL ARTISTS IN PHILIPPINES

National Artist Awards (NAA)

- highest form of recognition to Filipino artists for contributions in arts & letters
- shares same prestige as Gawad ng Manlilikha ng Bayan (GAMABA) & National Scientist Award.
- conferred every 3 years through rigorous  deliberation & selection process jointly facilitated by National  Commission for Culture
and the Arts & Cultural Center of the Philippines
- established in 1972 under Presidential Decree No. 1001 issued by President Ferdinand Marcos
- exists for benefit of Philippine  art scene; aims to recognize artists & their work & enable national  discourse surrounding art world
- Fernando Amorsolo (1st recipient conferred  award posthumously in painting, 1972)  romantic paintings of bucolic landscapes
& idealized portraits of prominent individuals from Commonwealth Period & World War II are viewed at Jorge B. Vargas Museum
- included 66 awardees from 7 disciplinal areas: architecture, design, & allied arts literature dance theater
film & broadcast arts visual arts music
- president’s prerogative: historical literature & fashion design

UP DILIMAN NAA
Guillermo Tolentino (awarded 1973) - classically-trained; proponent of academic tradition in sculpture
- Oblation (1935), male nude w/ arms outstretched (gesture of sacrifice & freedom) later cast in bronze
- works found at National Museum; him & Amorsolo were professors at UP School of Fine Arts Abdulmari Asia Imao
(awarded 2006) calligraphic work in ‘80s at Vargas Museum’s sculpture garden is one of his largest public sculptures
Benedicto Cabrera (awarded 2006) - Variations of Sabel (2015) made of aluminium sheets is found at UP Theater
Jose Joya (awarded 2003)- painter, Barter of Panay (1978) mural in Virata School of Business is rendered in Abstract Expressionist style
(soft, overlapping planes of black, white, orange, brown, & golden yellow)
- w/o rendering human forms, solid color palette establishes links to trade between Datu Puti (bears gold
accessories to purchase Panay lowlands) & King Marikudo
Napoleon Abueva (awarded 1976)- sculptor; Spirit of Business (1979) abstract sculpture is drawn from science fiction, composed of metal
disk w/ sharp-looking poles jutting through it
- produced public sculptures for UP using materials from wood, stone, metal; w/ themes of figurative
tableaus & abstract sculptures that embody spirit of academic unit
 both were faculty & dean of UP College of Fine Arts; influenced by modernist sensibilities; represented Philippines in Venice Art

Biennale (964), one of oldest international art exhibitions worldwide

Church of Holy Sacrifice (UP Diliman)- inaugurated in 1995; 1st Catholic church to employ circular architecture w/thin shell dome
- used complex math computations & concrete material; departed from rectangular configuration
- “National Historical Landmark”, “Cultural Treasure” by National Historical Institute (now National
Historical Commission of the Philippines) & by National Museum
Involved artists:
Leandro Locsin (awarded 1990)- inspired by spirit of times, spherical structure indicated interest in space travel & technology/science
advancements in 1950s; worked on architecture
Napoleon Abueva- double-sided crucifix carved in hardwood; one side depicts Christ crucified, other side is image of resurrected Christ
Arturo Luz (awarded 1997)- terrazzo floor work suggests flowing rivers that terminate in altar as whirling patterns of planar forms
Vicente Manansala (awarded 1981)- 15 Stations of the Cross use flat & angular shapes [assisted by Ang Kiukok (awarded 2001)]
- Christ & characters surrounding his passion are represented w/ mildly distorted figures (elongated
limbs, volume is suggested through solid, hard-edged shapes), lending compositions cubist quality
Jose Maceda (awarded 1997)- avant-garde composer, musician, ethnomusicologist; National Artist for Music
- founded UP Center for Ethnomusicology, where he donated his collections of sound recordings, field notes
on ethnomusicology in Philippines & SE Asia  Maceda Archives received recognition from UNESCO
Memory of the World
- Pagsamba involved hundred mixed voices, indigenous musical instruments (bamboo buzzers, clappers,
whistle flutes) while incorporating prayer sung in Tagalog

TRADITIONS & COLABORATIVE WORKS OF NA

Genghis Khan (1950)- Carlos V. Francisco (awarded 1973)’s imaginative production design enriched Manuel Conde (awarded 2009)’s
cinematic vision
- filmed in Francisco’s native Angono; translated into 16 languages for int’l distribution (2015 Venice Biennale)
Tales of Manuvu (1985)- performed in CCP, recounts origins of Manobo people
- Bienvenido Lumbera (awarded 2006) (scholar, poet, teacher, NA for Literature) wrote libretto
Alice Reyes (awarded 2006) (NA for Dance, founder of Ballet Philippines) choreographed performance
Salvador Bernal (awarded 2003) (NA for Theater) on costume & set design
- reflected confluence of genres (ballet & opera) on one hand, popular music & folk culture on the other.
- popularized Noong Unang Panahon, melancholic  reminiscence of ecological transformation
Pedro Penduko- drawings/stories of Francisco V. Coching (awarded 2014)’s Liwayway Comics; animated to film in 1954 by Gerardo de
Leon (awarded 1982) (NA for Film)
A Portrait of the Artist as Filipino (1950)- revolves around painting dedicated by crippled artist to 2 unmarried daughters Candida & Paula
- pre- war Intramuros, forwards concerns about value of art & plight of artists & nostalgia for “peace”
& glory days in Manila
- written by Nick Joaquin (awarded 1976) (NA for Literature), adapted to film in 1965 by Lamberto Avellana
(awarded 1999) (NA for Film) where his wife & collaborator Daisy Hontiveros Avellana (awarded 1999) (NA
for Theater, actress, director, writer) played lead character Candida Marasigan in film & theatre
- tradition of collaboration exemplified by NAA recipients is testament to how art’s  social role  artwork & artists are not confined in its
own world but  in collaboration w/ works of other artists & accountable to the public sphere  social dimension

GAWAD SA MANLILIKHANG BAYAN

Gawad sa Manlilikhang Bayan- established 1992 through Republic Act No. 7355 until 2012 bestowed by National Commission for Culture
and the Arts (NCCA); Manlilikhang Bayan (one who creates for the country) National Living Treasure
- emphasize intangible & communal aspects of art production closely aligned w/ process-based &
collaborative inclination of some contemporary art practice
Traditional art- based on indigenous peoples’ cultures largely honed by oral tradition; long-standing & established practices
- finds deep affinities w/ nature, place, society, ritual & spirituality, everyday life.
- in traditional integrative art, forms & expressions don’t normally end up as objects distanced from everyday living
- site of dissemination & knowledge transfer is neither in formal spaces museum/theatre, but creation is shared among
community members & appeals to broader aspects of life (products are found in homes, songs & dances are performed
part of ritual & affirming one’s cultural identity/sense of belonging
- considered as contemporary art (made now, persists as part of continuing performance of tradition)
 collaborative/participative, interactive & process-oriented, less emphasis on finished product , single creator
Form Manlilikha ng Bayan Award Year Ethnicity/Location Expertise
T’boli
Lang Dulay  1998 (Lake Sebu,  South Cotabato,  Mindanao, Southern tinalak  weaving
Philippines)
 
Tagabawa Bagobo
Salinta Monon 
1998 (Bansalan, Davao del  Sur, inabal  weaving
 
southeastern  Mindanao island,  southern Philippines)
WEAVING
Tausug
Darhata Sawabi  (d. 2005) 2004 pis siyabit  weaving
(Parang,  Sulu, southern  Philippines)
Haja Amina Appi  Sama
2004 mat weaving 
(d. 2013) (Tandubas,  Tawi- Tawi,  southern  Philippines) 
Ilocano
Magdalena Gamayo  2012 (Pinili,  Ilocos Norte,  northern Luzon  island, northern  inabel weaving
Philippines)
lyrical poems  (kulilal, basal, bagit)
Masino Intaray    Pala’wan
LITERATURE & 1993 playing accompanying  instruments; 
(Brookes Point,  Palawan island,  central  Philippines)
PERFORMING epic chanting  and  storytelling 
ARTS Maguindanao
Samaon Sulaiman 
1993 (Mama sa Pano,  Maguindanao,  western  Mindanao island,kudyapi playing
(d. 2011)   
southern  Philippines)
  Kalinga playing  Kalinga  musical 
Alonzo Saclag    2000 (Lubuagan,  Kalinga, northern  Luzon Island,  northern  instruments;  dance  patterns & 
  Philippines) movements  associated  w/ritual
Sulod Bukidnon  chanting Sugidanon  epic of Panay 
Federico Caballero    2000
(Calinog, Iloilo,  Panay Island,  central  Philippines) Bukidnon
Uwang Ahadas  2000 Yakan Musical instruments
 (Lamitan,  Basilan island, Southern Philippines)
Kapampangan
  silver plating  of religious  and secular
Eduardo Mutuc  2004 (Apalit, Pampanga  central Luzon island,  northern
art 
Philippines )
PLASTIC ARTS
Ilocano
Teofilo Garcia 2012 (San  Quintin, Abra  northern Luzon  island, northern    gourd casque  making
Philippines)

PRODUCTION PROCESS & CHANGING ENVIRONMENT

Tourism- land areas are converted into sites for tourist consumption
- ecological domains become more susceptible to damage w/ combined forces of natural disasters & tourist mobility
- dances & rituals are staged for external audience rather than for community’s observance of tradition
- native art forms are mass-produced to meet demands of tourist trade, diminishing quality & removing context
- neon colors & design from synthetic fibers were made to create appropriations of traditional textile designs for commercial purpose
Mining & Infrastructure Projects - dam construction & oil/mining companies evict people from dwellings & damage environment
- indigenous groups seek short-term employment from these industries in to make ends meet in money economy
Militarization- insecurity & tension brought by militarized zones arrest prevents people from communal gatherings
Christianization - conversion of natives to foreign religion caused members to forsake indigenous rituals & traditions
- people are led to believe that indigenous people are primitive & their practice has no place in contemporary culture
- however, community finds way to syncretize indigenous ways w/ Christian traditions
- Manobo of Mt. Apo initiated “culture regeneration movement” where they sought tradition revival by holding clan
reunions, employing native wedding rites, & recalling narratives of culture through painting  
   
Difficulties in Selection Process
- archipelagic orientation of Philippines makes it challenging to reach by land, air, or sea (77 ethnolinguistic groups, 244 culture variations)
- places with security risks/ militarized zones prevent researchers’ sustained entry & diminish reception outside of locality
- that’s why awarding does not follow a regular pattern. The award-giving body, through its cultural workers, is entrusted with equally
significant & difficult responsibility of being critical, transparent, & judicious in processes entailed by GAMABA, from selection, awarding,
& beyond.

Effects of GAMABA to communities

- since artists are entrenched in their localities , award system might create division within communities when one person is elevated to
national awardee status. Attention & entry of outsiders may create disruption that may change social & economic relationships as well as
people’s attitudes, concepts, & definitions of art forms & processes.
 MATERIALS IN CONTEMPORARY ART
LOCAL RESOURCES
Diokno Pasilan- neo-ethnic musician-visual/performance artist & art director from Negros
- “local”: Baguio, Bicol, Palawan (where he resided for long period), Victoria, Western Australia (where he resettled) 

interacting & immersing w/ host communities

- Third Bagasbas Beach International Environmental Art Festival performance (Bicol), Pasilan expressed awareness of natural
environment by painting his body green (environmental movement); thrust himself toward gongs tied unto bamboo structure—easily
available around Bagasbas’s fisherfolk communities, who provided info & support for him to create performance & site-specific work on
Bagasbas public beachfront
- Digital Tagalog (Lani Maestro & Poklong Anading, known for multi-sensory environments from research on contexts of spaces &
communities) shown in Mo Gallery (2012); used bamboo to construct physical nodes & create sounds; used found & crafted
sounds inspired from digitized audio files of Jose Maceda (UP College of Music Center for Ethnomusicology). Artists encouraged viewers
to be active creators. Visitors can make playlists which can be streamed through personal listening devices & amplified within larger
gallery space, where bamboo-made music they produced can overlay digitized sound selected by impromptu musician-DJs working w/
sound in smaller room

RITUAL, MUSIC, DANCE

- Moriones (Agnes Locsin, Davao-based) Holy Week festival (Marinduque); narrates Roman centurion Longino’s conversion to Christianity
after being healed from blindness by dying Jesus. Performed in France (as Ballet Philippines’ entry to Recontres Festival Du Danse) by
male dancers moving to “Serra Pelada” of avant-garde composer Philip Glass; reinterprets story through costumes (centurions w/o full
masks, hefty breastplates, swords, spears) & movements not associated w/classical ballet & folk dances. Bodies are sharply angled
(unpointed toes, contorted anatomical positions, staccato military gestures) to dramatize soldiers’ search for Longino; w/minimalist
lighting & stage design, audiences recognize story but also view it from another perspective
- Project Space & DiscLab shows alternative support systems that provide facilitating production & circulation/distribution of art. These
independent initiatives reach out to communities that breaks stereotype of artist working alone in studio

LANGUAGE, STAGING, & TECHNIQUES (adapt & translate foreign material)

- Rody Vera adapted The Post Office (play by Rabindranath Tagore) by retitling it Ang Post Office. Staged at PETA (Philippine Educational
Theater Association) Center, tells tale of dying Indian boy coming to know of world through people; restaged at TXS, Xavier University,
Cagayan de Oro. Local staging referenced to local culture (characters playing taho & sampaguita vendors). Music from Kilyawan Children’s
Choir (fusion of Bengali & indigenous Filipino sound pegs), Ellen Ramos’s digital animation, & spartan bamboo set
Rey Angelo Aurelio:
- Fugtong: The Black Dog by Aanak di Kabiligan (Children of the Mountains) organized through Cordillera Green Network; folk story about
family ostracized for keeping black dog (bad omen); interpreted as being all about how different is seen as dangerous /threatening or can
be unfolded in many languages as performers from Ifugao, Mt. Province, Kalinga, & Benguet spoke in Kalinga, Kankaney, Ilocano, & Ibaloi
- Bakata: Battle of the Street Poets featured Smokey Mountain-based youths staged at Tiu Theater in May 2015. Working w/ young people
from informal settler communities struggling to poverty is a way artists can respond to these conditions through immersion & sharing
knowledge about performance, movement, projection. Teaching them how to express themselves can build sense of identity as they learn
to process & express their emotions/ thoughts

BODILY SENSES (brings different dimension to reception of the work; subjects to more immediate feedback (applause, silence, gazes)
- Limen (2014) (Lani Maestro); France. In Bata compound (industrial site where it’s later placed), workers performed rigidly defined &
repetitive, mind-numbing tasks. In response, she built see-through bridge that poetically took people out to liminal point (Limen= verge
/edge of garden); “anti- thesis to industrial space,” /“landscape of everyday life”; metaphorically allows visitor’s body to fuse/extend
toward outlying green space visible through tunnel structure that didn’t have walls/ clear beginning/end points. Bridge was suspended
from low height so that whoever came might sit on it & not be fearful of falling off

 Philippine contemporary art are defined historically by media mixing & heralding of “art for art’s sake” by being site-specific,
collaborative, hyper-realist, hybrid (stylistically); mass-produced & market-oriented
 TRADITIONAL TECHNIQUES APPLIED TO CONTEMPORARY ARTS CREATION
Medium- material out of which work is made; nature of art forms
Sculptor- uses metal, wood, stone, clay, & glass; sculpture, pottery, ritual objects (3D)
Architect- uses wood, bamboo, bricks, stone, concrete, building materials; architecture has added element of time (we move into structures)
Painter- uses pigments on usually flat ground
Printmaker- uses ink printed/ transferred on a surface that’s in keeping w/ duplicating/reproducing process
Musician- uses sound, instruments, human voice
Dancer-uses body & its movements; tell stories & convey abstract ideas
Theatre artist- integrates all arts & uses stage, production design, performance elements, & script to enable visual, musical, dance
Photographer- uses camera to record outside world
Filmmaker- uses cinematographic camera to record & put together production design, sound engineering, performance, & screenplay
- in digital photography & film, images can be assimilated into computer, eliminating need for celluloid/negatives, processing
chemicals, print
Writer- uses words (novel, poetry, nonfiction, fiction)
Designer, performance artist, installation artist- use range of materials

Art Classification
Musical- music, poetry (those w/perceptible rhythm & can be sung/danced to), & dance accompanied by music
Practical- immediate use for everyday & business life (design, architecture, furniture)
Environmental- occupy space & change in its meaning & function depending on categories (architecture, sculpture, site-specific works)
Pictorial- painting, drawing, graphics, stage & production design (lighting, dress, props, and set)
Dramatic- staged & performed (drama, performance art, music, dance)
Narrative- stories (drama, novel, fiction, nonfiction, music, dance)
Combined- all art forms integrated (design, mixed media, photography, film, video, performance art, theater productions, installations)
- art forms are inseparable; collectively consumed & created (ritual; uses sculpture, dance, music, production design)
- UP Chapel (architecture, floor mosaic, paintings, musical performance)
Technique- manner in which artists use & manipulate materials to achieve desired formal effect, communicate desired concept, according
to their personal style; determined by medium’s distinctive character/nature
- involves tools & technology from most traditional (carving, silkscreen, analog photography, filmmaking) to contemporary
(digital photography, digital filmmaking, music production, industrial design, robotics)
- Filipino Struggles Through History (1963) (Carlos Francisco) depicts Andres Bonifacio leading Revolution; takes advantage of
line & color to communicate dynamism & intense passion in expressionist modern style
- Bonifacio Monument (Guillermo Tolentino) used carving to depict scene realistically, capturing moment of stillness when
Bonifacio stands reflectively on scene of death, but w/ grace & dignity befitting a leader in Neoclassic style

How is art experienced & consumed?

Art- “artifact,”; directly experienced & perceived; spatial & static/unmoving; time-based & in motion
- recorded/documented artwork  experience a work indirectly/through medium (documentation of performance, a photograph, DVD
of film, novel read from electronic tablet)
- time-based artefact receive/perceive it live/directly in real time; recorded as we watch it in real time but not at site of production.
(documented play, film, exhibit, ad watched through electronic medium)
- Pablo Biglang- Awa from Internet site, Roberto Chabet gave instructions on boat installation from simulated gestures
- Dime a Dozen (2007) at Lopez Museum, monitors were provided so that visitors could interact w/ Rizal through account. They could
add Rizal as friend, leave a message, upload picture/video to make Rizal more accessible & less intimidating through electronics
- Gerry Tan’s installation of time record system, where visitors punch “in” & “out” to record time spent viewing exhibition

How have contemporary artists expanded range of medium & techniques they utilize?
Secret Garden 2 (2010) (Mark Salvatus)- Vargas Museum; site-specific work (location/space is crucial to artist’s meaning & experience of
work by audience); one has to peek but not fully enter space
- artist worked w/ inmates & fashioned garden from plastic spoons, forks, etc.; secret process
remains a secret, even for audience who cannot fully see it
Ikoy Ricio- printed trump cards w/images of Philippine car wrecks & body count instead of car statistics normal trump cards have
- cards were installed on a table w/ matching chairs on which visitors were invited to to “play” that also essentially made fun of
commercial worship of speed & material excess

Untitled (Mirrors) (Maria Taniguchi)–uses acrylic on canvas & traditional modern style of abstraction (hallmarks of 20th century Modern
Art); gives these elements contemporary twist that turns painting into meditation on form
- viewer imagines artist painting grid by grid meditatively; painting & viewing process stresses concept
& performance of painting as meditation
- Conceptual Performance (site-specific, sculptural, environmental)
- part of Echo Studies (2011) installation at Vargas Museum  Another painting from this interacts w/
space: deceptively simple (grids of brick almost invisible from afar); panel is propped against wall of
West Wing of Vargas Museum, creating positive ground to door’s negative space that leads to another
Area  painting & sculptural object that interacts w/ museum’s environment

Waiting (2012) (Felix Bacolor)- transformed independent space in Museum of Contemporary Art & Design to simulacrum (simulation) of
terminal waiting room w/metallic, immovable chairs, & digital clocks that register passing of time
- site-specific & interactive; combines environmental, dramatic, & narrative; viewers weave their own stories
into space of travel, caught in-between mobility & immobility

Carlo Jaucian- inspired from science, explores its relationship w/visual arts through paintings, sculptures, interactive, kinetic installations
- has “liquid robot” triggered by music; “what is it to be human?”  combines mechanical, computer- based, & traditional media

Anonymous Animals (2013)( Cristina Taniguchi, Michael Teves, Danilo Sollesta, Mark Valenzuela, Benjie Ranada)
- Mariyah Gallery in Dumaguete City consisted of Conceptual Performance piece by artists who posed as excavators of strange animals formed
from terracotta sourced from outlying areas; provided animals they “excavated” w/ scientific data
- exhibited terracotta animals as specimens, w/ documentation from “embedded journalist” (photographer Hersley Ven Casero)
- Flaudette May Datuin (curator) invented stories about artists & wrote fiction through diary/notes from the field
- Performance & Conceptual piece inspired by Joan Fontcuberta & Pere Formiguera’s book Fauna (1999, Spain)
- crosses boundaries between art (terracotta sculpture) & science (natural and social sciences), literature, drama, & photojournalism
- simulacrum that creates a world that’s hyperreal & has its own virtual & “actual” reality, but actually has no counterpart in real life
- crosses boundaries between mediums & defies classification (narrative, dramatic, pictorial, environmental); exhibition of anonymous
terracotta animals (recorded, documented, performed)
 AQCUIRED SKILLS ENHANCEMENT
Context- environment condition which affects artwork
- allows research & further understanding; asking ff. questions help on conclusive interpretation of artwork; ensures that artwork interpretation isn’t
dependent on pure speculation
- understanding other artworks inspire in coming up w/ own style; prior research provides ideas & skills
Artist- culture, tradition, economic status, gender, age inspire artist when it comes to artistic production
What is socio-economic background of artist? What are artist’s political beliefs?
Where did artist grow up? How did artist become an artist?
What cultural practices & traditions did the artist follow? What techniques & practices is artist known for?
Environment-inspiration, reason why artwork is created
Does artwork depict natural phenomenon? Does it imitate any environmental phenomenon?
Does it showcase environmental rituals? What elements in artwork suggest that it is distinctly from its place of origin?
Way of Life- community culture & tradition affect the artwork; value & possible functions of artwork may be reasons why it was created
What are norms of community where artwork has come from? How did it impact lives of people in community?
What is the role of the piece in the daily lives of the community?
Society- current situation in society, artwork depicts current scenarios & significant historical affairs
What was happening when artwork was created? How did these affairs affect artist & what was his stance on the issues?
What are political & societal realities during those times?
Audience- artwork’s perception depends on audience’s outlook; depiction of technique & medium
Who is intended audience of the artwork? What is artistic background of the audience?
Experimentation- not boxing oneself in single artistic style, medium, technique; help in discovering extent of capabilities & develop own distinct style
- willing to occasionally rebel against rules; combine styles; go against rules of style

INTEGRATED ARTS PRODUCTION

Methods (production plan)- determine procedure’s standard procedure; step by step procedure; provides structure/ framework
● Objectives/goals - end result/outcomes ● Manpower assignment - person assigned
● Material - main concept/storyline ● Target date of finish - the activity’s date of finish
● Procedures - activities that need to be done
Materials- artwork to be produced & presented to audience (script, playwright, music, choreography); must have concept (main idea) needs to be conveyed
Machine- materials, machines, equipment to be used; physical materials in production design (stage, lighting, sound systems, technological medium)
Manpower- production team
● Concept writers - creates & writes the storyline and/or script ● Director -head of production; one whose vision manifests most
● Crew - associates in production ● Producers - produces machineries & manages the manpower
● Performing artists- leads the roles in storyline ● Choreographers- produces act & motions in storyline to be executed by artists
● Researchers- ensure properly contextualized & well-informed production
Basic Production Details
Type of production - consider 4Ms: method is fitting; material can be best conveyed in chosen type, machineries are enough to execute production,
manpower has skill set required for selected type
Title/name of production- catchy, memorable, unique; compels audience to view artwork, avoid generic title; ensure that name doesn’t have negative
associations &not overused before
Venue/platform- physical space; not necessary to execute production in physical place but still have to consider platform (social media sites for digital
productions, radio shows) used so artwork reaches target audience
Target audience- demographic group production primarily targets; specific target audience (grade range, name/type of school), consider audience’s quantity
& capacity to ensure maximum participation/viewership
Implementation date- realistic, gives enough time for preparation; make calendar of activities & mark milestones in production process to ensure that you’re
on time &best quality is met; good production takes time & process will require patience & diligence
Resources- manpower, machineries, financial considerations; production demand fits availability & capacity of people involved
- for machines, confirm availability of items (lighting, design, props); resources are defined by financial capacity, pre-production stage is ideally
alloted to fundraising through finding sponsors who believe in production’s vision
- find ways to maximize available materials & cheapen cost
Objectives- goals for production, identified before starting production process; define what production has to achieve to be successful
- written in infinitives (to + verb) & must be SMART
● Specific - use concrete action verbs as opposed to abstract ones (verb suggest specific actions on how to go about it)
● Measurable - identify quantifiable metrics ● Relevant - objectives set must have significant impact to production when achieved
● Attainable - realistic & can be attained given your resources ● Time bound - identify specific points in time when you have to meet certain objective
Not SMART: to raise awareness on the subject matter of the play  did not provide metrics so its attainability isn’t knowable & not time-bound
SMART: to raise awareness by 50% on breast cancer measured through a post-event survey distributed at the end of the play
 After implementation stage, team should have evaluation period: discuss good & bad parts, check achievements side by side w/ objectives
Contingency planning- require sitting down & talk about everything that can go wrong & measures to minimize negative impact
GANNT chart- concisely illustrates project schedule in planning