INTRODUCTION Background of the Problem

The term fine arts used to be restricted to the creation of objects only for arts sake. It did not include applied arts or design, which is the creation of objects for their functional use. Today, creations by artists shape the publics minds through visually stimulating film, print and television advertisement, the internet, the beguiling show windows of shopping malls. Everyone is faced daily with the need to make decision of an artistic nature wiping out the thin line separating the two concepts. At present, fine arts is defined to embrace

practically all types of creative endeavors, from the conventional art found in galleries, to images produced by emerging new media, and most everything in between that involves the creative mind.1 Education in the fine arts, on the other hand, is defined as the imparting of skills in visual arts expression to ordinary students or students interested in becoming artists may be formal, meaning, conducted in school, with graded courses; or informal, meaning through a master-apprentice relationship.2

See, Commission on Higher Education, Policies and Standards for Bachelor of Fine Arts (BFA) Program: CHED Memorandum Order (CMO) No. 29, Series of 2008, by Romulo L. Neri, June 19, 2008, Photocopied, 1. Rene B. Javellana, The Philippine Visual Arts: Education, in CCP Encyclopedia of Philippine Arts, ed., Nicanor Tiongson, Vol. 4, (Manila: Cultural Center of the Philippines, 1994), 193.
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Among the ethnolinguistic communities in the Philippines, artistic traditions and skills are still communicated through apprenticeship. In this kind of arrangement, a young person helps a master in a project and in so doing learns the step of the project. Pre-Spanish Filipino were taught to visually

express themselves in this manner. The children were taught how to make pretty things, fashion ornaments of shell, stone, jade, and, later on, of glass and gold. The training was done informally by their parents in addition to the

teaching of life skills necessary for survival.3 Even the Spaniard built upon the tradition of apprenticeship and taught Filipinos how to paint and sculpt in the Western manner. This came about due to the initial difficulty they encountered in communicating with non-Spanish speaking natives. The friars devised the use of art to communicate tenets of the Catholic faith by showing the natives images that explain the concepts behind Catholicism and stories of Christs life and passion. To accomplish this, they engaged the services of Chinese converts to paint images from religious books that they brought along with them. They became the first art teachers who introduced the Chinese converts in the art of western painting. The

Chinese mastered the craft in no time prompting Fray Domingo Salazar himself to remark that, when I arrived, no Sangley knew how to paint anything; but
Onofre D. Corpuz, the Roots of the Filipino Nation, Vol. 1, (Quezon City: University of the Philippines Press, 2005), 4.
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now they so perfected themselves in this art that they have produced marvelous work with both the brush and the chisel. The churches are

beginning to be furnished with the images which the Sangleys make, and which we greatly lacked before; and considering the ability displayed by these people in reproducing the images, which came from Espaa, I believe that soon we shall not even miss those made in Flandes.4 Eventually the natives became apprentices themselves and took over the production of paintings and sculptures. Since no formal school for art was in existence during that time, religious friars organized painting sessions with these Chinese artisans. These training sessions were not conducted with the use of a curriculum, nor were the apprentices conferred with formal degrees afterwards.5 Two centuries and a half later, in 1820, Damian Domingo opened an arts studio in Santo Cristo. His students were young Tondeos and children of powerful families in Intramurus and its neighboring districts. Domingo holds the distinction of having opened the first art school in the country.6

Emma Helen Blair and James Alexander Robertson, eds., Documents of 1590, The Chinese and the Parian at Manila, The Philippine Islands, 1492-1898, Vol. 7, 1588-1591, (Cleveland: A.H. Clark, 1909; reprint, Manila: Cacho Hermanos, 1973), 227.
5 6

Rene B. Javellana, the Philippine Visual Arts: Education, 194.

Patrick D. Flores, Painting History: Revisions in Philippine Colonial Art (Manila: UP Office of Research Coordination and National Commission for Culture and the Arts, 1998), 204

Formal art education started three years later in 1823 when Damian Domingo accepted the offer of the Real Sociedad Economica Filipina de Amigos Del Pais to teach and become the director of their new school the Academia de Dibujo.7 Although up to that time fine arts was not considered university course or career, only something similar to a vocational profession,8 in the words of Patrick D. Flores; the establishment of the Academia de Dibujo under the leadership of a Professor puts the discussion of colonial painting in the context of institutionalized art practice. Whereas previously painting was seen within the purview of catechetical ideology, painting on the establishment of the Academia was to assume institutional privilege, a form of legitimacy from the power of the academy or art world and the tradition or discipline of the Bellas Artes.9 At the Academia de Dibujo, students were formally taught how to draw still life and the human form, the art of perspective, painting in oil and aquarelle, and the preparation of colors and surfaces. They also learned the classical ideals of the European academies.10

Real Sociedad Economica Filipina de Amigos Del Pais was the first overseas society that was founded in Manila on April 26, 1781 with the aim to promote agriculture, industry, and commerce. See, Nicholas P. Cushner, Jr., Spain in the Philippines: From Conquest to Revolution (Quezon City: Institute of Philippine Culture and Ateneo de Manila University, 1971), 194 Macario Ofilada Mina, Fabian de la Rosa and his times, Ana Maria Theresa P. Labrador, ed., (Quezon City: Vibal Publishing House Inc., 2007), 58.
9 8

Patrick D. Flores, Painting History, 222-223 Ibid.

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The Academia actively operated for nine years but closed down in 1832, two years after the death of Damian Domingo. For eighteen years after that no art school operated in the country until a group led by Mariano Roxas y Ubaldo, Jose de Menchacatorre, and Juan Bautista Marcaida petitioned GovernorGeneral Claveria on May 21, 1845 to open an art school. They claimed that one was needed for the fine arts. In response, the Governor-General

authorized the establishment of the Academia de Dibujo y Pintura on June 10, 1845. It was inaugurated on April 1, 1850 with Spanish painters who were hired to teach the latest methods and techniques from Europe.11 When the Academia was raised to the rank of Escuela Superior de Pintura, Escultura y Grabado in 1893 it started to confer degrees almost the equivalent of a university career and of more value than a diploma on Bachiller en Artes. That was the equivalent then of a high school diploma.12 During the American regime, the Philippine Legislature approved Act No. 1870 that created the University of the Philippines in 1908. The Escuela

Superior de Pintura, Escultura y Grabado was chartered as one of its units to become the UP School of Fine Arts.13 The objectives of the school were the

11 12 13

Rene B. Javellana, the Philippine Visual Arts: Education, 194. Macario Ofilada Mina, Fabian de la Rosa and his Times, 58

In 1908, Rafael Enriquez, a product of Madrid Academy, with the assistance of others organized the Asociacion Internacional de Artistas, campaigned for the establishment of a

teaching and development of the graphic and plastic arts in their various and manifold branches. An effort is made also to exert an influence toward the advancement and refinement of those industrial trades which are of an artistic nature, such as gold and silver work, ceramics, embroidery, lace-making, furniture making, and metal work.14 Today, one hundred and eighty seven years after the Academia de Dibujo of 1823, formal arts education in the Philippines has flourished. The number of higher education institutions (HEIs) had multiplied. A 2010

Commission on Higher Education (CHED) report shows that there were 53 higher educational institutions (HEIs) all over the country offering a wide variety of fine arts and design courses, such as; painting, sculpture, visual communication, industrial design, interior design, and multi-media arts. Enrollment has also vastly increased. The same report shows that an average of twelve thousand students all over the country enrolled annually in various fine and applied arts courses from the academic year 2000-2001 to 2010-2011. In the same report, CHED projected that this average will

_______________________
government school and sent a petition to the Philippine Commission through Pedro A. Paterno. See, Rene B. Javellana, the Philippine Visual Arts: Education, 196. Cristino Jamias, The University of the Philippines: The First Half Century (Quezon City: University of the Philippines, 1963), 16-17
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increase to sixteen thousand yearly until the academic year 2012-2013.15 This information is proof that fine and applied arts are attracting increasingly large numbers of Filipino youth who want to pursue careers in advertising arts, interior design, industrial design, and painting. Students flock to these courses for good reason. People from all lifestyles are visually stimulated to make

consumer decisions daily through film, print and television advertisement, the internet, the beguiling show windows of shopping malls. All these images are created by artists. Listed in Table 1 below are data culled from the CHED report mentioned earlier. It shows that some 55,008 students have enrolled in these HEIs during the 5-year period covering 2005 to 2010 (see Table 1).16 TABLE 1 HEI'S ENROLLMENT OF FINE AND APPLIED ARTS DISCIPLINE PROGRAMS FROM 2005-2010 AY 2005-2006 AY 2006-2007 AY 2007-2008 AY 2008-2009
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9,117 9,052 8,722 13,063

CHED Report Summary of Tertiary Enrollment By Discipline Group and Academic Year, electronic document, dated Nov. 30, 2010. Report from the Commission on Higher Education (CHED) listing the number of enrollments for all 53 fine arts and design HEIs for a ten-year period covering 2005-2009. Twenty-two of these HEIs are found in the National Capital Region (NCR). See, Aiza Dilidili, Distribution of Higher Education Enrollment of Fine and Applied Arts Discipline Programs by Academic Year, electronic document, dated Nov. 30, 2010.
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TABLE 1 - continued HEI'S ENROLLMENT OF FINE AND APPLIED ARTS DISCIPLINE PROGRAMS FROM 2005-2010 AY 2009-2010 TOTAL 15,054 55,008

Source: Distribution of Higher Education Enrollment of Fine and Applied Arts Discipline Programs by Academic Year (2005-2010), CHED Report, 2012.

In comparison, the Academia de Dibujo y Pintura opened with 70 enrollees when it was inaugurated on April 1, 1850.17 The University of the Philippines School of Fine Arts had 703 enrollees in 1908. It was already large by the standards of those times. Due the lack of space, school administrators were compelled to postpone classes to April 1, 1910.18 For its part, the UST School of Fine Arts could only muster 23 enrollees during the first four years of operations, from 1935-1939.19 The CHED report also shows (see Table 2) that 33,778 or 61.4 percent of all the students enrolled in the fine arts and design courses were enrolled with the Top 10 higher education institutions listed therein.

17 18

Rene B. Javellana, CCP Encyclopedia of Philippine Arts, 195.

Ruben Defeo and Patrick Flores, Forming Lineage: The National Artists for Visual Arts of the University of the Philippines (Quezon City: Office f the President, University of the Philippines, 2008), 10.
19

Enrollment data sourced from the office of the UST University Registrar.

TABLE 2 TOP 10 HEI'S ENROLLMENT OF FINE AND APPLIED ARTS DISCIPLINE PROGRAMS FROM 2005-2010 Region NCR NCR NCR R7 NCR NCR NCR NCR NCR NCR Institution Name University of Santo Tomas De La Salle College of Saint Benilde Far Eastern University University of San Carlos University of the Philippines System University of the East-Caloocan Eulogio Rodriguez Institute of Science & Technology Asia Pacific College Mapua Institute of Technology-Manila Ateneo De Manila University TOTAL Rank 1 2 3 4 5 6 7 8 9 10 5-Year Total 10,435 5,398 3,824 3,503 2,800 2,493 2,113 1,101 1,074 1,037 33,778

Source: Distribution of Higher Education Enrollment of Fine and Applied Arts Discipline Programs by Academic Year (2005-2010), CHED Report, 2012.

The University of Santo Tomas College Of Fine Arts and Design is first on the list with 10,435 students enrolled. The De La Salle College of St. The Far Eastern University

Benilde ranked second with 5,398 enrollees.

follows in the third place with 3,824 students. The University of the Philippines College of Fine Arts with 2,800 enrollees was ranked in the sixth place. However, the report does not support an inference that the UST CFAD is the preferred higher education of learning for the fine and applied arts although it had been consistently on the top of that list for the period covered by the report. For one thing, the UP College of Fine Arts has the most stringent quota policy

that it had disqualified scores of students applying for enrollment. The UST CFAD is, nonetheless, one of the preferred schools for that discipline.

Statement of the Problem Launched in 1935, the UST fine arts school started with just 16 students. It was then a minuscule department of the College of Engineering.20 After having gone through several organizational transformations, first as part of the School of Architecture and Fine Arts in 1938, then of the College of Architecture and Fine Arts in 1946, it became the College of Fine Arts and Design on November 17, 2000. In that sixty-five year period, the school has transformed itself into an institution that had become a byword in the field of fine arts education in the country. It is now an autonomous and independent academic unit, earning the well-deserved college status. This interesting story of the UST school of fine arts has not yet been written to date. This thesis tells that story and answers the question of how the UST Fine Arts school transformed from 1935 into the UST College of Fine Arts and Design in 2000? Specifically it will answer the following questions: 1. What were the goals and objectives of the Dominicans of the University of Santo Tomas for establishing the UST fine arts school?

The College of Engineering became the Faculty of Engineering in 1939. See, University of Santo Tomas Faculty of Engineering, Thomasian Engineer Journal, (Thomasian Engineer Media, 2007), 4-8

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2. Who were the personalities involved in the tasks of administering the school and achieving its goals and objectives. 3. How did its curriculum, organization, enrolments, and faculty evolved into its form in 2000. 4. What were the schools contributions to the enhancement of the Philippine society, in particular in the development of fine and applied arts education? Objectives of the Study By necessity, this thesis attempts to determine the different

developmental stages through which the UST School of Fine Arts (1935) has gone through toward its transformation to the UST College of Fine Arts and Design (2000). This problem was undertaken for the following reasons: 1. To trace the origin, growth, and development of the UST school of fine art; 2. To identify the personalities involved in the realization and achievement of the schools goals and objectives, 3. To show the evolution of the schools curriculum, organization and administration, physical settings, faculty and student body; and thus, 4. To define the role of the UST fine arts school in the development of Philippine fine and applied arts education.
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Significance of the Study During the last seven-seven years, the UST school of fine arts has become a byword in the field of fine arts education. The author believes that because of this its story deserves a detailed study. It has to be told because the school has achieved and contributed in no small measure to the development of fine arts education in the country. 1. The schools presents students and thousands more that are expected to enroll in the coming years are the primary benefactors of this thesis. An accurate narration of the schools history will provide them with the assurance that they could trace their roots back from a long line of illustrious Thomasian artists who have greatly influenced the development and strengthening of the countrys advertising, interior design, and industrial design industries. 2. This thesis also serves as a declaration of appreciation to former administrators, professors, and graduates. It will be an assurance that their legacies will continue to be revered and nurtured by those who came after them. 3. This historical narrative will also interest scholars for they too will know about the school that had produced National Artists (Ang Kiukok and Jerry Elizalde Navarro), commercially successful painters (Andres Barroquinto and Ronald Ventura among others), award12

winning sculptures (Joe Datuin), and even Thomasian artist alumni who are recognized and given prestigious awards here and abroad in the field of animation.21 4. More than just a purely historical account, this thesis also attempts an analytical study of the administration, faculty, curriculum, students, and other activities of the institution. From this analytical study,

certain trends in the area of administration, faculty, curriculum, students, and alumni may be drawn. As such, it will inevitably show the institutions strengths and areas that may possibly accept further improvements. These analyses, based on the institutions 1935-2000 experience may help contribute to the formulation of policies regarding faculty, administration, curriculum, student requirements and activities, and alumni. In the final analysis, this could be where the importance of this thesis may be found. Scope and Limitation of the Study This thesis is not an attempt to present a definitive history of the UST School of Fine Arts. Its scope covers only the first 65 years of its existence from 1935 to 2000. The timeframe is limited to 2000 when the school was

R. V. Nagales, Only in Hollywood: Cavite-born UST alum co-directs Pixar film, Philippine Daily Inquirer, 03 September 2011, 5.

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transformed into the College of Fine Arts and Design, making it a college that is autonomous and independent from the College of Architecture. The limitation that this thesis is not the complete or final work on the school is compensated by the fact that it is an attempt to make a thorough study by recreating event making full use of the sources of this history. It will include a survey of the different courses offered at different times in the school. Of utmost significance is the account of the progressive development of the school not only in the curriculum but also specially in the enrollment, faculty, and physical plant improvements. However, this thesis will not delve into other problematic areas such as nuances of arts nor detailed achievements of the school's faculty or graduates that would only veer the discussions away from the stated objectives of this thesis. It will be an institutional narrative inasmuch as it will reconstruct the institutional history of the UST School of Fine Arts.22 Theoretical Framework New institutionalism, the sociological approach in particular, is the theoretical framework that will best serve the purposes of this thesis. It is a theory that focuses on developing a sociological view of institutions in the way
Shambu Prasad, C., A. Hall, et al., Engaging Scientists through Institutional Histories, ILAC Brief No. 14 (Rome, Italy: Consultative Group on International Agricultural Research and Institutional Learning and Change Initiative, 2006). See, http://www.cgiar-ilac.org/content/institutionalhistory/accessed 13 November 2012/9:16PM.
22

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they interact and the way they affect society.23 The theory provides arguments that institutions operate in an environment consisting of other institutions, called the institutional field, which is described as those organizations that, taken together, constitute a recognized area of institutional life. They are the key suppliers, resource and product consumers, regulatory agencies, and other organizations that produce similar services or product. In this institutional field, every institution is influenced by institutional peer pressure exerted by the collection of organizations that operate in a single domain; as identified by similarity of services, products, or functions; and other organizations that influence the performance of the focal organizations such as key suppliers and customers, regulatory agencies, funding sources, and competitors.24 The main goal of organizations is to survive and in order to do so, they need to do more than succeed economically; they need to establish organizational legitimacy, which is defined as the degree of cultural support for an organization, the extent to which the array of established cultural accounts provides explanation for its existence.25

Edward Alan Miller and Jane Banaszak-Holl, Cognitive and Normative Determinants of State Policymaking Behavior: Lessons from the Sociological Institutionalism, Publius, vol. 35, no. 2 (Oxford University Press: 2005), 195, Stable URL: http://www.jstor.org/stable/4624709, Accessed: 16/10/2011 20:01 Paul J. DiMaggio and Walter W. Powell eds., New Institutionalism in Organizational Analysis, (Chicago: University of Chicago Press, 1991), 64-65
25 24

23

Ibid., 170

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The focus on legitimation as a sustained and driving force among organizational actors is an important element of this approach. The UST

School of Fine Arts will be shown here as one such actor, which in its desire to survive and strive to become legitimate, has adopted certain procedures, routines, beliefs, and structures of similar organizations in the organizational field that it perceives to be more legitimate or successful. These adaptations will be reflected in the Schools organizational characteristics because it had adopted emergent, socially defined elements and legitimated practices promoted by the wider institutional environment.26 Review of Related Literature This review of related literature is an attempt to provide readers with a picture of the state of knowledge and of major questions in the subject and to justify this thesis. After having assessed the materials about the period in

review on the history of The University of Santo Tomas, this author concludes that there exists no comprehensive or analytical study about the UST School of Fine Arts. In this connection, this author, based on the above assessment has confirmed the need to pursue the reconstruction of the narrative regarding the transformation of the University of Santo Tomas School of Fine (1935) to its

26

Ibid., 147-160

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present form, the College of Fine Arts and Design (2000). For this reason, this thesis is a pioneering work on the subject. Three masteral theses were reviewed to justify this work. The first one was entitled The University of Santo Tomas College of Nursing (1946-1971): A Historical and Analytical Study, presented by Cresencia Reyes S. Foronda as a masteral thesis to the UST College of Nursing in 1972.27 As the title

suggests, it was a narrative of the UST College of Nursing from its founding in 1946 until 1971. Its discussions included a brief history of nursing education in the Philippines, a narrative on establishment of the college in 1946 highlighting the roles of University and College officials in its establishment, detailed analysis of the evolution of the Colleges curriculum, and an account of its student body from the early stages of the college up to 1971. The second masteral thesis entitled The College of Education of the University of Santo Tomas: Its History, Development, and Progress, was

written by Bienvenida Paradero and was presented to the Graduate School of UST in 1948.28 The author discussed the reasons for the launching of the UST College of Education. It also talked about the different stages that the college had undergone through its development from 1926 until 1946. The thesis also
Cresencia Reyes S. Foronda, The University of Santo Tomas College of Nursing (1946-1971): a Historical and Analytical study, MA thesis, 1972. Bienvenida Paradero, The College of Education of the University of Santo Tomas: Its History, Development and Progress, MA thesis, 1948.
28 27

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included a survey of the different courses offered at different times in the College, and the subjects taken compared with those required by the Bureau of Private Schools. It described the development of the College of Education not only in enrollment but also in the curriculum. It further discussed opportunities offered it to its students in the fields of public service and leadership in the teaching profession. On the later part of the thesis, the author summarized the colleges contributions in the evolution of a better Philippine society. These works were included in the review of related literature because they are also institutional histories institutions within the University of Santo Tomas system. However, the UST School of Fine Arts is different and

administratively independent from the College of Nursing and the College of Education. In addition to that, the works Ms. Foronda and Ms. Paradero are of different periods because The University of Santo Tomas College of Nursing (1946-1971): A Historical and Analytical Study, covered a 25-year period while The College of Education of the University of Santo Tomas: Its History,

Development, and Progress, 20-year period from 1926 to 1946. Moreover, Ms. Forondas work narrates a brief history of its institutional environment as well. In her case, it was the history of nursing in the Philippines. Ms. Paradero did not. On the other hand, one of Ms. Paraderos work similarities to this thesis is her presentation of the opportunities that the College of Education

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offered it to its students in the fields of public service and leadership in the teaching profession, and the summary of its contributions to Philippine society. Finally, both works did not use the new institutionalism framework employed in this thesis. Another unpublished literature reviewed for this thesis was the work written by Leonila S. Castro entitled An Institutional History of Centro Escolar de Seoritas, 1907-1941.29 Although an institutional history, this work differs from this thesis on the subject institution because it is a general history of the Centro Escolar de Seoritas. Moreover, during most of the period covered that started in 1907 and ended in 1941, the UST School of Fine Arts was not yet in existence. For her framework, Ms. Castro employed the challenge and

response theory of Arnold Toynbee. Jose Victor Z. Torres book In Transition: The University of Santo Tomas During the American Colonial Period (1898-1935) was written to trace the history of UST during the American colonial period, specifically from 1898 the arrival of the first American forces in the Philippines to 1935 the end of American rule and the beginning of the Commonwealth era.30 This survey on UST covering that period showed the interaction of UST with the policies and
29

Leonila Castro, An Institutional History of Centro Escolar de Seoritas, 1907-1941, MA thesis,

1997. Jose Victor Torres, In Transition: the University of Santo Tomas during the American Colonial Period (1898-1935), (Manila: UST Publishing House, 2007).
30

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politics of the Americans through the re-creation of the events that made that history. It also showed how the university survived as an institution of learning in spite of the enormous changes that occurred under the American rule. Dr. Torres work is a general history of the University of Santo Tomas and not of an institution within its system. The scope of his work began in 1898 and ended in 1935, which marked the beginning of the scope of this thesis. Although it tackled the features of American-sponsored education, it did not delve into art education in particular. The work of Mr. Jose Victor Jimenez, like this thesis, is an institutional history. It is entitled Education under the American Colonial Regime: The De La Salle University Experience.31 Mr. Jimenez first tackled the changes in Philippine education that was brought about by the coming of the Americans and the introduction of their system of education in the country. He contrasted this with the Spanish system and made this as the jump off point for his narration of the founding of the De La Salle University. This included the

justification for the schools establishment, identification of personalities involved, evolution of its curricula and its faculty. It was already pointed out that Mr. Jimenez work and this thesis are both institutional histories. While both
Jose Victor Jimenez, Education under the American Colonial Regime: The De La Salle University Experience, The Journal of History, Vol. 48, No. 1 & 2 (Quezon City: Philippine National Historical Society with the Public Affairs Office, United States Embassy-Manila and the University of Asia and the Pacific, 2002), 83-107.
31

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included in its narration topics above-mentioned, they are different in the choice of subject institution. The De La Salle University is an independent and

autonomous institution ab initio while the subject of this thesis is an institution on its way to independence and autonomy. Moreover, the history of De La Salle University began in 1911 while that of CFAD in 1935. Methodology The design for this thesis is historical. It is based upon the reports of observations which cannot be repeated although similar events may occur. This design is used to throw light on the subject institutions present, thereby, giving it a sense of continuity from the past. Chronicling the institutions events of enduring worth confers upon its individual members a consciousness of unity and a feeling of importance of its achievements. On the matter of the establishment of the subject of this thesis, it was relatively straightforward. It stemmed from the authors interest in the fine arts. This enabled him to utilize prior knowledge of the subject. His choice was also affected by motivations and values as a member of the UST College of Fine Arts and Design faculty. These considerations, and the fact that it will be useful in his professional life, were important because they sustained his interest over a period of time. Fortunately for this writer, the problem tackled herein had been left untouched for the last sixty five years.
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The next step was the formulation of the objectives of this thesis. It was completed through background readings and the literature reviews. Again

fortunately for this writer, after his review of related literature, no new official reports or publications were made during the research and writing of this thesis. Through his work as faculty member of the School the writer was an active participant and was totally enmeshed in the subject of this thesis. This close involvement is significant because it explained how he gained access to important documentary evidences, close observation, and the subjects of his interviews. What followed was the work of collecting data with consideration of documents and remains or relics of primary and secondary sources, of bibliographic procedure, and organization of materials. The primary sources used in this thesis were documents that include school directives, memoranda, university statutes, committee reports, surveys, annual reports, courses of study, catalogues, prospectuses, newspapers, periodicals, journals, and personal materials such as biographies and legal instruments executed by individuals. Secondary sources include such materials as histories of art

education, histories of the University of Santo Tomas and of related academic units, bibliographies, and encyclopaedias. Unfortunately, some very important documents especially those letters, memoranda, reports, minutes of meetings

22

that would give details on the Schools historical narrative were not made available to the writer. At that time and up to the present date they were being catalogued at the UST Archives. A written request was made but archive Alternative sources of

personnel failed to find these important documents. information were then pursued.

After the data have been collected these were subjected to criticisms, both external and external. This is a very important step because it will test the authenticity and provenance, and historical reliability of these materials. Before becoming part of the narrative, these data were accepted as completely reliable after having been weighed individually for trustworthiness and credibility. Furthermore, it is an important that the findings of the research process, the overall conclusions, and particularly, the recommendations are made available to a wider audience. This way some of the findings, results and conclusions will be used to influence future developments and strategies. For this reason, the author has taken the responsibility of summarizing the message of the thesis in a form that is memorable and easy to assimilate. Thus the final step involved the presentation of facts in a readable form involving problems of organization, composition, exposition and interpretation.

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Thesis Outline The most important documents for this thesis were collected from the UST Archives, the Office of the University Registrar, and the Heritage Library. The documents provide the bulk of information required to accomplish its objectives are copies the Universitys General Bulletins. They are as the

primary source of information on the mission of the School, the curricula, its officers and faculty members. They also list descriptions of subjects, enrolment requirements, and governmental recognitions. These General Bulletins, which were published chronologically, in addition to other compiled documentary evidences and observations, facilitated the authors task of determining the periodization for this thesis. The process, contentious as it is, must be accomplished for without it, the past contained in the data that have been collected and compiled, would be nothing more than just scattered events that are difficult to analyze and study. The challenge here is to avoid events from overlapping, conflicting, or contradicting one another for there are many ways to periodize this thesis. Periodization based on the terms of office of UST Rectors from 1935 to 2000 was an option. However, it would be cumbersome because there were 15 Rectors during that period. It would be difficult to relate the resulting timeline to the stated objectives of this thesis. Neither can we periodize using the terms office of the College Dean for the same reason. More importantly, the school
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did not have one until 1946. In the end, this writer settled for the periodization based on the stages that the School had undergone in developing into an autonomous college in 2000. Foremost considerations here were the

objectives and the materials available for this thesis. This thesis is divided into six chapters. The resulting division shows how it incorporated the rest of the research data. They are as follows: Chapter 1, the introduction begins with a short narration of the history of art education in the Philippines. Data on the subject assembled from various sources after having been analyzed were presented in the background of the study to show the state of affair of arts education in the country before the launching the School. It is followed by the statement of the problem, the objectives of the study, and the theoretical framework, and review of related literature. It also gives the scope and division of the study. The remaining five chapters describe and analyze the actual narrative of the institutions transformation. Chapter 2 entitled UST School of Fine Arts, 1935-1938, concentrates on the recount of the story of the School in 1935 and the political-social-economic framework during that time that influenced its establishment. The year 1938 marks the end of that period because of the Schools entry into the next stage of its development. This stage will be

discussed in Chapter 3, UST School of Architecture and Fine Arts, 1938-

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1946. Discussions in this chapter will commence with the state of affairs in the School during this stage of its development. This six-year period which was interrupted by the Japanese occupation (1942-1945), will conclude in 1946 when the School had again developed and entered another stage. As the School nears the closing stage of its institutional development, the thesis will explain in Chapter 4, UST College of Architecture and Fine Art, 1946-2000, the circumstances that led to the granting of a separate and autonomous status in 2000. Chapter 5 delves on the actual process that were undertaken to

separate the school of fine arts from the College of Architecture. Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Introduction School of Fine Arts, 1935-1938 School of Architecture and Fine Arts, 1938-1946 College of Architecture and Fine Arts, 1946-2000 College of Fine Arts and Design Summary of Findings and Conclusion

Although this thesis had been affected by the writers own motivations and values it did not exclude in this investigation materials that yielded views contrary to his hypothesis. This work therefore is as open and transparent as possible.

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