2_Q1-Contemporary in Dumalag Central National High School (1).pptx

CPAR lesson 2 ppt

1. Contemporary Philippine Arts from Regions Traditional Art and National Art Centers in the Philippines

2. Directions . In a separate sheet of paper, write the corresponding letter of thecorrect answer in each of the item given below. 1. National Arts Month is celebrated in the month of A. APRIL C. JANUARY B. FEBRUARY D. OCTOBER 2. Mangyans are best known for their A. BULUL C. WOVEN BASKETRY B. PISSIYABIT D. WOVEN TAPESTRY 3. The Ifugaos are best known for this traditional art. A. BULUL C. PISSIYABIT B. JUSI and PIŇA D. T’NALAK

3. 4. The Pissiyabit is best known in what Philippine archilepago A. LUZON C. VISAYAS B. MINDANAO D. MINDORO 5. A traditional art tapestry woven by the T’bolis in South Cotabato. A. BULUL C. PISSIYABIT B. JUSI and PIŇA D. T’NALAK 6. The goal of this government agency is “to preserve, develop, and promote arts and culture in the Philippines”. A. CCP C. BOTH A and B B. NCCA D. NEITHER A and B

4. 7. Jusi and Piňa are best known in the province of A. IFUGAO C. MINDANAO B. LUMBAN, LAGUNA D. MINDORO 8. This government agency was formed under Republic Act No. 7356 A. CCP C. SCCTA B. NCCA D. NAM 9. The usual theme for traditional art is A. ANIMISM C. INTEGRATIVE B. CONTEMPORARY D. MODERNISM

5. 10. Cultural Center of the Philippines was estbalished in A. 1966 C. 1968 B. 1967 D. 1969 11. The number of art centers found in Region VII. A. 2 C. 4 B. 3 D. 5 12. To date, how many regional art centers recognized by CCP. A. 45 C. 50 B. 47 D. 60

6. 13. The goal ofthis program was to “further strengthen its linkages and cooperation with local organizations in the regions”. A. KAISA SA BITUIN C. KAISA SA PILING B. KAISA SA LIKHA D. KAISA SA SINING 14. An NCCA subcommission which facilitates the committee on Architecture and Allied Arts, Cinema, Dance, Dramatic Arts, Literary Arts, Music, and the Visual Arts. A. SCA C. SCH B. SCD D. SCCTA 15. An outreach program embarked by CCP that promotes regional arts through cultural interactions and exchange tours of accomplished artist and art groups in the regions. A. UGNAYAN NG SINE C. UGNAYAN SA PILING B. UGNAYAN SA MUSIKA D. UGNAYAN SA SINING

7. Quick recap! In the previous module, you have been introduced to the evolution of contemporary art and how it is being integrated to various art forms evident in the regions. You’ve also realized how an artist could come up with a masterpiece using the elements of art, its subject, the principles of design dominant as well as the three important elements that you have to take into consideration in holistically understanding the intention and the message of an artwork. Now buckle up, as we go in depth in understanding an important aspect of our culture and identity as Filipinos.

8. Activity 2.1 “Picture Analysis” Observe the sculpture carefully. Then, in your mind answer the following questions. What is the figure doing? What does the figure tell you about? Do you commonly see this figure in your locality? What emotion/s can be drawn out from the figure?

9. Traditional Art Our country is home to many traditional arts which could be traced back in the pre-colonial times. The fact that we have strong family ties it would be easier for our practices, beliefs, traditions, and arts be handed down from generation to generation. The various kind of traditional art in our country are informally learned and usually produced in indigenous closely knitted communities as a reflection of one’s history and culture.

10. Animism is the usual theme of traditional arts with an intention to depict people’s gods and goddesses, thus resulting in the creation of abstract symbolic of animistic figures like the sun, the moon, and other human figures.

11. Traditional art is culture-bound, and it revolves around the artist and his/her feelings, thoughts, and messages to his/her audience. For example, the sculpture of Northern Philippines may be in the form of human beings or animals while in Southern Philippines the carvings may stem from plants forms, displaying its curvilinear designs.

12. The image shown in activity 2.2 is a carved figure of Bulul of the Ifugaos is an example of a traditional art. There are several traditional arts unique in all provinces and regions in our country, some of the dominant traditional arts are as follows: Basketry of the Mangyans - The Mangyans are a group of indigenous people from Mindoro Island in the Philippines. T’nalak – Tapestry woven by the T’bolis in South Cotabato

13. Pis Siyabit - (or simply Pis) is a Tausug woven head-cloth made from cotton or silk (or with gold threads) characterized with intricate geometric patterns of colors segmented into the smallest squares, triangles, and diamonds. Embroidered piña jusi cloth of Lumban, Laguna - Piña is a natural fiber derived from the leaves of the Native Philippine Red Pineapple. A luxury fabric softer than hemp and glossy like silk

14. Woodcarvings, Paper Mache , Toothpick Objects made in pakil from Paete, Laguna – a younger form of traditional art

15. Philippine traditional arts are rich in songs and dances in the regions. These songs and dances are handed over by master craftsmen to their younger generations like any traditional art.

16. In literature and the performing arts, the traditional style is evident in their adherence to classical structures and standards. These classics are considered timeless and enduring. A very good example of a classic literary work is Jose Rizal’s Noli Me Tangere .

17. Evident in monuments and statues during ancient and traditional times are the essence to commemorate heroism or other deeds of greatness. While contemporary monuments and statues suggest reimagining of the character or event to evoke more intense emotions from its spectator.

18. Up to the present times, it can be observed in most buildings and structures in the country the incorporation of traditional and contemporary style. Both traditional arts and contemporary arts exist in mutual acceptance and respect for each other’s freedom of expression, practices, and principles.

19. National Art Centers in the Philippines In 1969, the Cultural Center of the Philippines (CCP) was established through executive order No, 303. The main goal of the establishment is “to preserve”, develop and promote arts and culture in the Philippines”. It houses several companies – some of which are the Philippines Philharmonic Orchestra , UST Symphony Orchestra , Tanghalang Filipino , BAYANIHAN National Dance Company of the Philippines , Ramon Obusan Folkloric Group , Philippine Madrigal Singers , Philippine Ballet Theatre , Ballet Philippines , and National Music

20. Competitions for Young Artist . Concerts, theatrical performances, and art exhibits for both local and international. The Pasinaya : CCP’s Open House festival, the largest multi-arts festival for the Filipino Public.

21. In 2010, CCP started an outreach program called Ugnayan sa Sining that promotes regional arts through cultural interactions and exchange. Cultural Center of the Philippines (CCP) and National Commission on Culture and the Arts (NCCA) made a conscious effort in promoting cultural events in the different regions because in the past Manila has been regarded as the center of cultural and artistic activities. It started with four groups: Sining Bulakeño (SIBUL) from Malolos, Bulacan; St. Louis University from Baguio City; CPU Handbell Choir from Iloilo City; and Tagum City Comprehensive National High School Rondalla from Davao del Norte. Later, the Youth Advocates for Theater Arts of Dumaguete (YATTA) and Mindanao State University in General Santos city exchanged cultural visits followed by other groups across the country.

22. In 2014, CCP launched Kaisa sa Sining : The Regional Arts Centers with its goal to “further strengthen its linkages and cooperation with local organizations in the Regions. Below is the map of regional centers participating in Kaisa sa Sining

23. The CCP is also in charge of the National Art Center in Mt. Makiling, Los Baños, Laguna, which is home of the Philippine High School for the Arts. The school was established in 1976 for young aspiring artists. The student population is about 135-140 to ensure quality of instruction with full scholarship and living assistance. Grace Nono, Sharmaine C. Buencamino, Nick Pichay, Gerry Leonardo are among the products of the said school.

24. The National Commission for Culture and the Arts (NCCA)

25. In 1992, under Republic Act No. 7356 the NCCA was formed and is responsible in “preserving, promoting and developing culture and the arts in the Philippines” just like CCP. An overall policymaking body and coordinator among cultural agencies is one of its functions. It aims “to encourage artistic creation within a climate of artistic freedom”.

26. NCCA has four sub-commissions: Subcommission on the Arts (SCA), which facilitates the committees on Architecture and Allied Arts, Cinema, Dance, Dramatic Arts, Literary Arts, Music, and the Visual Arts.

27. Subcommission on Cultural Heritage (SCH), which includes committees on Archives, Art Galleries, Historical Research, Libraries and Information Services, Monuments and Sites, and Museums.

28. Subcommission on Culture Dissemination (SCD), which handles committees on Communication, Cultural Education, and Language and Translation.

29. Subcommission on Cultural Communities and Traditional Arts (SCCTA), which takes care of the committees on Northern Cultural Communities, Central Cultural Communities, and Southern Cultural Communities.

30. Subcomommission on Cultural Communities and Traditional Arts (SCCTA), which take care of the committees on Northern Cultural Communities, Central Cultural Communities, and Southern Cultural Communities.

31. February has now been known as the National Arts Month (NAM). In celebration of the NAM, NCCA-SCA come up with the annual Philippine Arts Festival which consists of several activities and highlight the artistic talent and brilliance of the Filipinos. Seven of the nineteen national committees – architecture, cinema ,dance, literature, music, theater, and the visual arts – prepare the followingprograms for the Philippine Arts Festival.

32. In 2013, NCCA sponsored Tanghal Theater Festival featuring regional theater organizations and university drama groups with the theme “Ani ng Sining” . NCCA also provides support to community-based theater groups. Together with government agencies like the Department of Education, the Department Social Welfare and Development, and Non-Government Organizations believing that community-based theaters help fortify the spirit of nationalism, patriotism, thereby becoming agents of change. An example of a younger community-based theater group is Dulaang Kasing Sining in the province of Bohol. With the help of NCCA, artist -leader Lutgardo “Gardy” Labad founded the group in February 2015 to address the concerns of the Boholanos regarding the devastation generated by the earthquake that struck the region in 2013.

33. Activity 2.3 “Stick Visual Art” What you need: 1 short bond paper, toothpick/broom stick/barbeque stick, glue What to do: Based on traditional patterns and styles of artwork, create a visual design by attaching the toothpicks on the bond paper using a glue

34. Activity 2.2 “Paper Weaving” (Traditional Art) What you need: 1 short bond paper, colored papers, or any recycled papers, glue, scissors What to do: Create your own weaving design using the colored paper. Place the weaved colored paper on a clean bond paper.

35. Activity 2.4 Now that you have a broader perspective on traditional arts and the corresponding institutions responsible in preserving and promoting the many cultural activities, it is time to reflect and do your part as a responsible citizen. Make a slogan about how to preserve and promote traditional art. Use a separate sheet of paper for this activity. (10pts= substantial answers, 7pts= somewhat substantial, 5pts= unsubstantial answers).

36. Activity 2.5 Using google, research one example of traditional arts in your region. In your research, take note of the following guideline. You can your research printed or handwritten in a clean sheet of paper. a) Description b) Historical background c) Artist/s d) Processes used