Contemporary Philippine Art from the Region Brief History of Philippine Art.pptx

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1. Brief History of Philippine Art

2. Periods Pre-conquest II. Islamic Colonial (13th century) III. Spanish Colonial Period (1521-1898) IV. American Colonial Period (1898-1940) to the Postwar Republic (1946- 1969) V. JAPANESE OCCUPATION (1941-1945) V. 70s to Contemporary

3. Refers to art before the coming of the first colonizers as “pre-conquest.” “indigenous” to emphasize the idea of our ancestors that have been making art before colonization

4. general way of life before colonization art of the past Filipinos were Woven into fabric of everyday life Rituals marked significant moments in a community’s life like: Planting and Harvesting, Funerary Ceremonies and Weddings

5. Our ancestors were hunter-gatherers. They imitated the movement of animals and prey, and the sounds that they made. This simple activity evolved rituals, music, dance, theater and even literature.

6. These rituals are considered as the earliest forms of theater that are still alive in various regions. Ex: Mayvanuvanua in Batanes , Canao or Kanyaw in Cordillera Autonomous Region , Cashawing in Lake Lanao in Mindanao and Tagbanwa in Palawan .

7. Kanyaw (Cordillera Autonomous) Officiated by a shaman or mumbaki Involves animal sacrifices Kashawing In Lake Lanao in Mindanao Ritual to ensure abundance during rice planting and harvesting is observed and performed

8. Tagbanwa In Palawan Believe that every 13th moon, 3 goddesses descend from heaven to bless the planting rice The country’s indigenous cultures through the existence of ethnic musical instrument such as Pipes, Flutes, Zithers, Drums, Kudyapi , Kulintang and Agong .

9. Pangalay from Sulu archipelago Mimetic of the movement of seabirds. The Mandayas ’ kinabua , the banog-banog of the Higaonon and of the B’laan communities, and the man- manok of the Bagobos of Mindanao imitate the movements of predatory birds. Talip Dance ( Ifugaos ) Used in courtship Mimetic of the movements of wild fowls

10. Inamog of the Matigsalugs , and the Kadaliwas dance of the T’bolis represent the comedic movements of monkeys. Tinikling popular Tagalog folk dance often showcased for tourist, is evocative of the movements of the crane, balancing itself on stilt-like legs or flitting away from the clutches of bamboo traps.

11. Pre-colonials Filipinos have been making images before colonization. This is exemplified by the country’s rich tradition in carving . People of the Cordilleras carve the bulul , regarded as a granary god that plays an important role in ritual. The Ifugaos also produce the Hagabi , wooden bench that marks the socioeconomic status of the owner.

12. Christianized communities in Laguna and Pampanga are known for carving Santos as well as other wooden sculptures of secular or nonreligious orientation In Southern Philippines, curvilinear decorations called the Okir (termed ukkil in Tausug/ Samal / Badjao ) are employed in woodcarving.

13. Manunggul Jar , discovered at Manunggul Cave, Lipuun Point, Palawan is dated to the late Neolithic period. It is a secondary burial vessel, where buried and exhumed bones are placed.

14. Another cherished living tradition is weaving . According to Respicio , textile weaving has a long history that Philippines ethnolinguistic groups have a rich textile weaving tradition. Textile are not only functional, they also impart knowledge about people’s belief system .

15. A backstrap loom or a pedal loom is used to weave designs that hold special meaning for a particular cultural group. Examples of woven textiles includes the pis siyabit , a headpiece woven by the Tausug of Sulu and malong with exquisite tapestry panels called langkit woven by the Maranao of Lanao del Sur .

16. The colorful doubled-layered tepo mat of the Samal of Tawi-Tawi made of pandan leaves is a remarkable example of mundane or everyday object with high artistic value.

17. Weaving techniques are also applied in creating tools for agricultural purposes. In Ilocos region, sturdy bamboo strips are woven to create fish traps called bubo. In the 16th century, the illustrated manuscript called the Boxer Codex featured representations of various ethnolinguistic groups.

18. As jewelry, painstaking attention to detail is manifested in metalwork, such as the lotoans or betel nut boxes in various shapes, made of brass or bronze produced chiefly by the Maranao of Lanao del Sur. Textured designs of rhombuses, spirals, circles, and tendrils swarm over the exterior of functional containers.

19. The design is achieved through a special technique of metal casting called the lost wax or cire perdue process which involves the use of moulds filled liquefied metal that eventually hardens

20. Other vessels that employ the same techniques are the brass kendi and the gadur , which are used in ceremonies and are cherished as status symbols or as heirloom pieces. The kendi is a vessel used for pouring liquids.

21. II. Islamic Colonial

22. Islam was said to have gained significant grounding in Sulu as early as the 13th century It was significant in the arrival of Sayyid Abubakar of Arabia in the 15th century that led to a significant turn of events

23. Abubakar was recognized for building a religious school, also known as the madrasa that facilitated the teaching of Arabic writing in the 16th century . As the Islamization process in Mindanao strengthen , Islam became the driving force that enabled the natives to resist centuries of Spanish colonization

24. Islam was embraced as a religion and as a way of life by the people of Mindanao , among them, the Tausug, Maranao, Maguindanao, Yakan , Samal , Badjao , as well as some areas in Palawan.

25. Filipino Muslims recognize that they belong to an ummah or a community of believers . Central to the Islamic faith is the doctrine of Tawhid or unity of God . This belief emphasizes the impermanence of nature and the incomprehensible greatness of the divine being.

26. How Philippine Muslims organize space in architecture is also telling to their adherence to the Tawhid and other Islamic beliefs We can see this upward orientation of design elements in the panolong and elaborately carved protrusion akin to a wing attached to the torogan or the royal house of the Maranao

27. Aside from the mythical sarimanok , the burraq , a horse with the head of a woman , is also an important figure believed to carry the prophet in his ascension to heaven.

28. III. Spanish Colonial Period

29. While the south remained resistant to Spanish colonization, the colonizers gained power in the central part of the islands whose inhabitants we now refer to as “ Lowland Christians .”

30. Art that flourished during the Spanish colonial period conformed to the demands of the church and the colonial state . The art forms from this period are refer to stylistically and culturally as religious art, lowland Christian art, or folk art

31. Baroque style characterized by grandeur, drama and elaborate details that purposely appealed to the emotions.

32. Images of saints and interpretations of biblical narratives were considered essential to worship. Under the strict watch and patronage of the church, images were produced through painting, sculpting and engraving. The images of the Santo can be made of ivory or wood.

33. Painting (Nuestra Senora del Rosario in Bohol) Heaven, Earth, Hell (A mural by Jose Dans in Paete Church, Laguna ) Portrait of the Quiazon Family by Simon Flores Virgenes Christianas Expuestas al Populacho by Felix Resurreccion Hidalgo Spoliarium by Juan Luna Espana y Filipinas by Juan Luna

34. The Greek and Roman Classical can be seen in the portion employed as well as the formality of expression while the trace of the Baroque is evident in the expressive and emotional characteristics of the santos are displayed in a decorative altar niche called retablo .

35. The Via Crucis is an important inclusion in colonial churches which are presented either as a series of 14 paintings or relief sculptures depicting Christ’s crucifixion and resurrection.

36. Plateria the organic designs of hammered silver. The plateria technique is also applied in the body of the carroza where santos are paraded during town processions.

37. With the coming of the Spaniards, they brought western musical instrument like: Pipe Organ Piano Violin Guitar

38. Philippine musical forms also took on a very European flavor with new rhythms, melodies, and musical forms, that Filipinos adopted and make their own. Catholic liturgical music was introduce in 1972 when arcbishop of Manila, Juan Rodriques Angel, established a singing school at the Manila Cathedral that taught western church music.

39. Catholic liturgical music was introduced in 1972 when Arcbishop of Manila, Juan Rodriques Angel, established a singing school at the Manila Cathedral that taught western church music.

40. Musical form was based on the Catholic faith would emerge in the pasyon or pabasa or biblical narration of Christ’s passion chanted in an improvised melody. Secular music form was flourished such as the awit and the corrido

41. Kundiman and Balitao , balitao -sentimental love songs and lullabies also evolved. Zarzuelas or Sarsuwela was an operetta which features singing dancing interspersed with prose dialogue which allowed the story to be carried out in song.

42. Severino Reyes and Hermogenes Ilagan, who wrote zarzuela in Tagalog were the most distinguished playwright of their day with Honorata “ Atang ” dela Rama (National Artist for theater and music, awarded 1987) as their most celebrated leading actress.

43. Senakulo or Passion Play written in 1704 by Gaspar Aquino de Belen. It narrates Christ passion and death on the cross and it is adapted into verse form and translated into local language. Komedya depicts the conflict between the Muslims and Christians.

44. Among Mangyans of Mindoro, bamboo poles are cut into smaller nodes and are etched with the Baybayin script used to compose short poems that tell of courtship and other emotional concerns.

45. In the town of Ticao , Masbate, a huge stone was discovered writing believed to be an invocation for safe journey by sea.

46. Applying the technique of xylography or woodcut printing, Doctrina Christiana (teaching of Christianity) was printed in 1593 in Spanish and Tagalog by Dominican Priest.

47. Domestic families tended to their altar comprised of delicate santos placed in virina , a bell-shaped glass case; or urna , a humbler often attributed to the craftsmanship of artist from the Visayan region

48. IV. American Colonial Period (1898-1940) to the Postwar Republic (1946-1969)

49. The independence that the Philippines gained after the revolution of 1896 was cut short with the establishment of the American colonial government in the bound by the Treaty of Paris in 1898, Spain surrendered the Philippines to United States .

50. Filipino playwrights who had just undergone the Philippines Revolution of 1898 against Spain, found themselves confronted by censorship with the issuance of the Sedition Law which banned the writing, printing and publication of materials advocating Philippine independence and engaging in activities which championed this cause.

51. Plays such as Juan Abad’s Tanikalang Guinto or “Golden Chain”,1902

52. 1902 Juan Matapang Cruz’s Hindi ako Patay or “I am Not Dead”, 1903 and Aurelio Tolentino’s Kahapon Ngayon , at Bukas or “Yesterday, Today and Tomorrow ”, 1903 echoed not only the nationalist sentiments of their playwright but also served as political protest , openly attacking the Americans.

53. Aurelio Tolentino’s Kahapon Ngayon , at Bukas In 1915, Lino Castillejo and Jesus Araullo authored “A Modern Filipino ”, the first Filipino play written in English.

54. Inspired by the City Beautiful Movement introduced in 1893 at the Chicago World Fair , the new urban design employed Neoclassic architecture for its government edifices and integrated parks and lawns to make the city attractive by making its building impressive and places more inviting for leisure amid urban blight.

55. De la Rosa was known for his naturalist paintings characterized by restraint and formally in brushwork, choice of somber colors, and subject matter, as seen in the works Planting Rice, 1912 and El Kundiman, 1930 .

56. A prolific artist, Amorsolo had produced numerous portraits of prominent individuals; genre scenes highlighting the beauty of dalagang Filipina, idyllic landscapes; and historical paintings .

57. He was also a graphic artist who rendered drawings or the textbooks series The Philippine Readers as well as illustrations for the newspapers The Independent .

58. Amorsolo’s logo design for Ginebra San Miguel , won for him a grant that enabled him to study Fine Arts in Spain. Guillermo Tolentino was Amorsolo’s counterpart is sculpture. He is credited for the iconic Oblation (1935, original/1958, bronze cast found at the UP Oblation plaza) of University of the Philippines and the Bonifacio Monument , 1933 in Caloocan.

59. Unlike the latter’s pastoral images, Edade’s The Builders, showed distorted figures of toiling workers using dull colors; a shift treatment of form and subject matter.

60. Carlos “ Botong ” Francisco is known for his magisterial murals, particurlarly , Filipino Stuggles Through History in 1964, one of the largest and most ambitious in scope, which he did for the Manila City Hall.

61. Edades , Francisco, and Ocampo have been regarded as the “triumvirate” of modern art after having worked on several murals together. A collaborative work that survives to this day is Nature’s Bounty, which portrays a group of women harvesting fruits in a field.

62. Japanese Occupation (1941-1945)

63. Under the Japanese occupation the Modern Art project slow down in pace. Early moderns and conservative alike continued to produce art and even participated in KALIBAPI ( Kapisanan sa paglilingkod ng Bagong Pilipinas ) sponsored art competition.

64. In 1943 and 1944, Purugganan and Francisco won KALIBAPI awards. Art production once again tilted to fulfill the agenda and demands of the new colonial order.

65. The Japanese forces led the formation of the Greater East Co-Prosperity Sphere, a proganda movement that sought to create a Pan-Asian identity that rejected western traditions.

66. Slogan such as “ Asia for Asians ” made its way to the public through posters, ephemera, comics and Japanese sponsored publication such as Shin-Seiko and in newspapers and magazines such as Liwayway and Tribune .

67. In music, the composer National Artist Felipe P. De Leon was said to have been “ commanded at the point of the gun ” to write Awit sa Paglikha ng Bagong Pilipinas . Declared as anthem especially for the period, it conveyed allegiance to the nation reared in East Asia, where Japan was actively asserting its political power.

68. If art was strictly policed during the Second World War II, it brings us little surprise that Amorsolo’s paintings, many of which showed little or no indication of war’s atrocities, continued to be favored. Examples include Harvest Scene and Rice Planting, 1942.

69. These paintings that evoke a semblance of peace, idealized work in the countryside and promoted values of docile industrious.

70. Such mood is echoed by Sylvia La Torre’s hit song Sa Kabukiran , written in Tagalog in the 1940’s by the acclaimed composer Levi Celerio (National Artist for Music and Literature, awarded 1997)

71. La Torre’s operatic singing along with an energetic tempo offered an escape from the troubles of war. Commissioned portraits of high officials such as His excellency, Jorge B. Vargas, Chairman of the Philippine Executive Commission, 1943 and “Independence this Year,” said His Excellency, Premier Tojo,1943 were also produced at this time.

72. Portraits representing different ethnolinguistic groups were produced, and this is exemplified by Crispin Lopez’s Study of an Aeta, 1943. Although scenes from the war were also made, the imagery remained neutral, focusing rather than the aesthetic qualities of ruin and disaster.

73. Take Amorsolo’s Bombing of the Intendencia , 1942 Ruins of the Manila Cathedral, 1945

74. As examples, they draw attention to the elegant of value in the billows of smoke or the pile of ruins rather than the urgency of the disaster itself. Works which depicted the horrors of war such as Diosdado Lorenzo’s Atrocities in Paco and Dominador Castañeda’s Doomed Family were painted after 1945.

75. The period looked promising for the development of modern art. A group of artist who exemplified a new kind of modernism emerged, and this was observed by the artist writer E. Aguilar Cruz who named the Movement Neo-Realism.

76. Using modernist figuration, many of these artists explored folk themes and also crafted commentaries on the urban condition and the effects of the war. Manansala, Legaspi and HR Ocampo were among the National Artists associated with the Neo-Realism.

77. Many of Manansala’s paintings are characterized by transparent cubism, a style marked by the soft fragmentation of figures using transparent planes instead of hard-edges one’s.

78. As exemplified in the painting Tuba Drinkers,1954, Legaspe’s Gadgets II 1949 depicts half naked men almost engulfed in the presence of machines.

79. Most of Legaspi’s figures in this period are distorted by his elongating or making rotund forms in a well-ordered composition, as seen in the painting Bar Girls, 1947, HR Ocampo’s The Contrast,1940.

80. Ocampo’s painting Genesis, 1968, which puts together warm-colored shapes, became the basis of the stunning tapestry hanging at the Man Theater or Bulwagang Nicanor Abelardo of the CCP.

81. Support institutions like the Art Association of the Philippines (AAP) were established in 1948 under the leadership of artist Purita Kalaw -Ledesma; while the Philippine Art Gallery (PAG), which provided and laid out programs for modern art, was put up in 1951 through the efforts of the artist –writer Lydia Arguilla .

82. Also during this time, when there was little support for the graphic artist, the printmaking workshop of Manuel Rodriguez, Sr. was opened. Part of AAP’s initiative is to support contests to encourage art production.

83. The 1950’s also saw the construction of modern Architectural structures, particularly churches that modified or veered away from traditional cruciform design. Within UP Diliman campus include the Church of Holy Sacrifice,1955 and the Church of the Risen Lord.

84. Another remarkable example is the Chapel of St. Joseph the Worker in Victorias , Negros, built by Czech American architect Antonin Raymond

85. V. 70’s to Contemporary

86. Under the helm of Ferdinand Marcos and Imelda Marcos beginning in 1965, many cultural projects ensued amid the backdrop of poverty and volatile social conditions. Amidst claims of national chaos of emergency proportions, Martial Law, Marcos envisioned a New Society or Bagong Lipunan, which worked toward the rebirth of a long lost civilization , on one hand, and aspiration to modernization and development, on the other.

87. This vision was propagated and implemented through an art and culture program that combined the fine arts, architecture, interior design, tourism, convention city building (hotels, theater, coliseums), engineering, urban planning and health.

88. The discourse of rebirth can also be discerned in the anthem or songs the regime sponsored and circulated through the media and public education channels.

89. The optimism toward a new beginning was articulated for example, in Levi Celerio and Felipe Padilla de Leon’s composition for the New Society titled Bagong Pagsilang .

90. National pride was instilled by evoking the pre-modern through murals, folk festivals, and museums devoted in collecting and displaying ethnographic artifacts and natural specimens, among these sites was the National Museum, which revitalized through Constitutional amendments.

91. At the center of this arts and culture program was the Cultural Center of the Philippines (CCP), the premier bureaucratic entity through which art acquisition, exhibition making, workshops, grants, and awards were implemented.

92. For the group exhibition Objects, held at CCP in 1973 Chabet tore up a copy of a coffee-table book on Philippine contemporary art and placed it in a trash bin.

93. The work, entitled Tearing into Pieces, was seen as a scandalous critique or the art world; in her book The Struggle for the Philippine Art, artist, collector, critic and founder of the Art Association of the Philippines Purita Kalaw -Ledesma described the work as “anti-museum art.

94. Albano ( Chabet’s successor) argued that although some experimental forms seemed wholly foreign, he invoke the practice of adoring ephemeral and familiar objects in fiestas, which shared processes and features with installation art.

95. An early example of installation art is Junyee’s Wood Things, 1981, made of kapok or cotton pods, installed on the walls and floor of the CCP’s white cube spaces to make these look-like crawlers encroaching on the museum space.

96. Social Realism A significant strand that emerged during the intense political ferment of the 70’s and the 80’s was Social Realism or SR, for short. Using various mediums, techniques and styles, SR, is a form of protest art that exposed the sociopolitical issues and struggles of the times.

97. Kaisahan was composed of Antipas Delotavo , Neil Doloricon , Renato Habulan , Edgar Talusan Hernandez, Al Manrique, Jose Tence Ruiz, and Pablo Baen Santos.

98. Kaisahan’s influence as a collective reached organization like the group of UP Fine Arts Students who eventually became known in the 80’s as the as the Salingpusa .

99. Varied forms of expression can be observed from the period which spilled over from the previous decades. In sculpture, Eduardo Castrillo’s gigantic metal work Pieta, 1969, evoke a strong feeling of anguish and loss through the expressive poses of Mary the mother and the oversized body of Christ.

100. In the 90’s, when support from the state was practically non-existent, artist were empowered to initiate projects like regional festivals.

101. Meanwhile, as galleries began to spring up inside mall spaces, equally intriguing were the budding of alternative and artist-run spaces that supported experiments and D-I-Y (Do It Yourself) projects of young artists.

102. Thank you for not giving up!