CONTEMPORARY ARTS IN THE

PHILIPPINES FROM THE

REGIONS

“ARTS IN THE PHILIPPINES DURING

THE SPANISH PERIOD”

SUMMARY

SUBMITTED BY GROUP 2 (12 - AARON)

YU, WAQUIN DELA CRUZ
LOPEZ, JOHN JULIAN
AQUINO, HANNAH
DELA CRUZ, MELODIE
DIMACULANGAN, ANGELICA
GABAY, LORIE ANNE
MAGANDA, ALAIZA
RELATOR, DANICA
SALIH, MARIAH KRIZSHA

FEBRUARY 6, 2020

INTRODUCTION
 Philippine society is a unique blend of diversity and homogeneity. Although
geographically part of Southeast Asia, the country is culturally strongly Euro-American. Forces
of assimilation have constantly worked to overcome cultural differences between the various
ethnic groups that are scattered—sometimes in relative isolation—throughout the archipelago.
Nearly four centuries of Western rule, however, have left an indelible imprint on the Philippines,
serving as a conduit for the introduction of Western culture and as the catalyst for the emergence
of a sense of Philippine political and cultural unity. While the Christian churches built by the
Spanish and the mosques built by the Muslims provided a spiritual anchor, the educational
system established by the United States and expanded by the Filipinos has become emblematic
of cultural unity and socioeconomic progress. Nonetheless, through the persistence of strong
family ties, the revival of the barangay as the smallest unit of government, increased attention to
Asian history and literature, and subsequent revival of dormant traditions, the Philippines has
strengthened its Asian heritage without abandoning its Western cultural acquisitions.

ARTS IN THE PHILIPPINES

Inspirations on the enhancement of Philippine arts in the pre-colonial era were usually the
belief systems of the native people and the natural world. Colonialism shifted the inspirations of
Philippine art towards Western notions of "art". Since the independence era, inspirations of
Philippine art have shifted into more indigenous roots, notably, through Philippine mythology.
Philippine art reflects to its society and non-Filipinos the wide range of cultural influences on the
country's culture and how these influences honed the country's arts. The art of the Philippines
can be divided into two distinct branches, namely, traditional arts, and non-traditional arts.

THE SPANISH COLONIZATION – A LOOK BACK IN THE PAST

When European traders, in search for a new route to the Spice Islands, stumbled into the
Philippine archipelago in 1521, they found the people living in a comparatively high state of
civilization. The natives dwelt on houses made of bamboo and palm leaves, and were properly
attired at all times. They cultivated rice, which was their staple food, fished the extensive waters
around them, and brewed many kinds of drinks, which they were very fond of. The women’s
position in society was high; tribal laws and customs recognized her equality with the men in
many respects. The people practiced monogamy in general. Codes of law governed their
conduct. Punishments with varying degrees of severity were meted out to culprits whose offenses
were tried in public courts presided over by the chiefs.
 Several languages were spoken, then, as now, although there was one common alphabet
called baybayin, which resembled the ancient alphabet of India. Spanish historians, writing about
the early Filipinos, affirmed that there was hardly a man or woman who could not read and write.
There was oral and written literature. Such was the state of culture of the Filipinos when
Ferdinand Magellan arrived in the Philippines at the head of a Spanish expedition searching for
the Spice Islands in 1521. Magellan never completed the journey himself; he was killed in an
encounter with natives after having claimed the Philippines for Spain.

The actual work of colonization began in 1565, when Miguel Lopez de Legazpi
concluded treaties of friendship with the native chiefs. Then he proceeded to establish a Spanish
town on Cebu Island, to convert the people to Roman Catholicism. Spain’s foremost aim in the
Philippines was to spread their religion. For this purpose thousands of Catholic missionaries
belonging to various orders came to the Philippines. The contribution of this mission work
toward the advancement of education, culture, and architecture in general was enormous,
although in later years the friars came to be considered as the opponents of the enlightenment of
the people. It was also at this point when the Spanish missionaries tried to eliminate the ancient
written literature of the Filipinos. Because of the destruction of ancient writings, in their
eagerness to erase the previous cultural records of the Philippines, only the orally transmitted
literature has survived.

Starting on a clean slate, it can be said that the missionaries encouraged the growth of
literature, art, science, and industry. The religious orders established schools and colleges,
founded libraries and museums, and set up printing presses. They also built hospitals, asylums,
and orphanages to take care of the sick and needy (including the unwanted babies sired by
friars). But Spain’s biggest legacy to the Philippines is Roman Catholicism, which the people
embraced readily from the beginning. The missionary zeal to make the country an outpost of the
Catholicism in spite of the fact that (even with unsparing exploitation), the Philippines was a
financial liability as a colony. Whether this is true or not, historians seem to agree that the cross,
rather than the sword, conquered the Filipinos.

With the rising influence of the Catholic Church in the Philippines, there began a
contention for power between the religious and civil authorities, which proved harmful to the
Filipinos. Each camp accused the other of oppressing the people. In the conflict, the progress of
the nation was retarded, because the Spaniards spent much time and energy in quarreling among
themselves instead of governing.

The Spaniards ruled the Philippines for 300 years under these conditions, continually
harassed by Chinese pirates, by the Moros (Mohammedans from Mindanao and Sulu), by the
Dutch and the English who wanted to take possession of the Islands, and finally by the frequent
revolts on the part of the natives.
 ARTS IN THE PHILIPPINES DURING THE SPANISH COLONIAL PERIOD

When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to
propagate the Catholic faith through beautiful images. With communication as problem, the
friars used images to explain the concepts behind Catholicism, and to tell the stories of Christ’s
life and passion. Images of the Holy Family and the saints were introduced to the Filipino psyche
through carved santos, the via crucis (Stations of the Cross), engravings on estampas and
estampitas, and through paintings on church walls.

Though the ethnic art forms such as pottery, weaving and metalwork were retained, the
Spanish friars and the Chinese, the colony’s primary trading partner, were slowly introducing
newer art forms. Icons brought by the friars were used as models for sculpture. Filipino artisans
were taught the Chinese brushwork technique in painting. Engraving was also introduced.

The concept of patronage emerged. Artisans were commissioned and paid to carve,
engrave, and paint. They replaced the arts that were once done in a communal spirit and
community setting for rituals. The church, particularly the friars, became the new patron of the
arts. Since most art produced during the first two centuries of Spanish occupation were for the
church, the friars enforced strict supervision over their production. Until the 19th century, art
was only for the church and religious use.

PAINTING

During the early part of the Spanish occupation, painting was exclusively for the
churches and for religious purposes. Occasionally, it was also used for propaganda. The Spanish
friars introduced Western painting in the Philippines to artisans who learned to copy on two-
dimensional form from the religious icons that the friars brought from Spain,. For the first
centuries of Spanish colonization, painting was limited to religious icons. Portraits of saints and
of the Holy Family became a familiar sight in churches. Other subject matters include the
passion of Christ, the Via Crucis, the crucifixion, portrayal of heaven, purgatory and hell.

Painters from the Visayas island of Bohol were noted for their skillful manipulation of
the technique. Their paintings of saints and religious scenes show figures in frontal and static
positions. For the Boholano painters, the more important persons would be depicted bigger than
the rest of the figures. Christ normally dwarfs the Roman soldiers in these paintings.
Unfortunately, they did not sign their names on their works and no record of their names exists
 Virgen de Guadalupe

Virgen de Guadalupe with the four

Apparitions, also known as Nuestra Señora de
Guadalupe and La Morenita, was painted by
Nicolás Enríquez in 1773. Then, it was the
most widely venerated sacred image in New
Spain. Here, the miraculous image is encircled
by four scenes that attest to its divine origin.
An inscription reveals that this copy was
sanctified by contact with the original in 1789,
sixteen years after it was painted and four
years after its owner returned to Spain. The
medium used for this painting was oil on
copper.

SCULPTURE

Of all the new art forms introduced, the natives took to sculpture instantly. The carving of
anito was transformed into sculpture of the saints. These santos were used primarily for the
church altars and retablos. It also replaced the anitos in the altars of the natives’ homes.

Carvings for churches include altarpieces called retablos (usually with niches for the
icons), the central point of any Catholic church. The retablo houses the tabernacle and the image
of the town’s patron saint. Usually referred to as a “cabinet of saints”, one would see a hierarchy
of saints depending on their importance to the townspeople. The patron saint would be in the
middle; less important saints would be in the periphery. The most elaborate retablos can be seen
in the San Agustin Church in Intramuros. Other parts of the church that may have carvings are
church doors, pulpits, and carrozas (floats that carry the saints for processions). The façade of
churches may be carved from adobe, coral stone, and volcanic rock, among others. It may have
carved images of saints, floral decorations or leaf decors.

Santo Niño de Cebú

It was brought by Portuguese explorer

Ferdinand Magellan in 1521 who gave it as a
gift to Cebu Island’s Rajah Humabon and his
wife to celebrate their conversion to
Christianity. The elaborately dressed carved
wooden figure, believed to be of Belgian
origin, traveled with Magellan on his voyage
of discovery and conquest from Spain to the
Philippines, making this the oldest Catholic
treasure in the islands.
 The 12-inch tall statue is made of dark wood and carved in the Flemish style
depicts the Child Jesus, with a serene countenance, in the attitude and dress of a Spanish
monarch. Today, the original image is permanently encased behind bulletproof glass inside its
chapel within the Minor Basilica del Santo Niño.

ARCHITECTURE

During three hundred thirty years of Spanish colonialization, the Philippine architecture
was dominated by the Spanish influences. The Augustinian friars, along with other religious
orders, built many grand churches and cathedrals all over the Philippine Islands. During this
period the traditional Filipino Bahay na bató (Filipino for "stone house") style for the large
houses emerged. These were large houses built of stone and wood combining Filipino, Spanish
and Chinese style elements.

The order of the Augustinians, Augustinian Province of the Most Holy Name of Jesus of
the Philippines, built many churches all over the Philippines. These magnificent structures can
still be found throughout the Philippine Islands.The Paoay Church in Ilocos Norte is one of the
most prominent types of these churches. This unique specimen of Filipino architecture called
Filipino Baroque from the Spanish era has been included in the World Heritage Sites List of the
UNESCO. The church was built by the Augustinian friars from 1694 until 1710. It shows the
earthquake-proof baroque style architecture.

Santo Tomas de Villanueva Parish Church

The Danao City Church, or more officially known as Santo Tomas de Villanueva Parish
Church, was built in 1755 and stands as one of the oldest church in the Philippines. The church
suffered partial destruction during the Second World War. Partial reconstructions were made to
the church but the church’s edifice still stood precariously. Full reconstruction was done in 1985
after a generous donation by Ramon Durano. An estimated amount of P8,000,000 was provided
in financing the said reconstruction project which took care at the same time to maintain the
outward antique appearance of the church. The renovated facade of Santo Tomas de Villanueva
still looks natural but the church interiors have already been modernized to have a much better
look and feel during meditation and prayer. Just like most of the Catholic churches built during
the Spanish era, Danao City Church’s walls are thick and solid

LITERACY

During the Spanish colonial period in the Philippines (1521–1898), the different cultures
of the archipelago experienced a gradual unification from a variety of native Asian and Islamic
customs and traditions, including animist religious practices, to what is known today as Filipino
culture, a unique hybrid of Southeast Asian and Western culture, namely Spanish, including the
Spanish language and the Catholic faith. Spanish education played a major role in that
transformation.

During the early years of Spanish colonization, education was mostly run by the Church.
Spanish friars and missionaries educated the natives and converted indigenous populations to the
Catholic faith. King Philip II mandated Spanish authorities in the Philippines to educate the
natives, to teach them how to read and write in the Spanish language. The Spanish missionaries
established schools soon after reaching the islands in which they taught not only the catechism
but reading, writing, Spanish, and liturgical music and a few decades into the Spanish period,
there was no Christian village without its school, with most children attending.

The oldest universities, colleges, and vocational schools, dating as far back as the late
16th century were created during the colonial period, as well as the first modern public education
system in Asia, established in 1863.

MUSIC COMPOSITION

Spain ruled the Philippines for 333 years, and Hispanic influence in Filipino culture is
ubiquitous. This influence can be easily seen in folk and traditional music, especially in the
Tagalog and Visayan regions, where Spanish influence was greatest.

A. Rondalla music - The Rondalla is a traditional string orchestra comprising two-string,

mandolin-type instruments such as the banduria and laud; a guitar; a double bass; and often a
drum for percussion. The rondalla has its origins in the Iberian rondalla tradition, and is used to
accompany several Hispanic-influenced song forms and dances.
B. Harana and Kundiman - The Harana and Kundiman are popular lyrical songs dating back to
the Spanish period, and are customarily used in courtship rituals. The Harana is rooted in the
Mexican-Spanish tradition and based on the rhythmic patterns of the habanera. The Kundiman,
meanwhile, has pre-colonial origins from the Tagalophone parts of the country, uses a triple
meter rhythm, and is characterised by beginning in a minor key and shifting to a major one in the
second half.

MUSICAL INSTRUMENTS

A. Castanets - Castanets are usually made out of castana wood, though they can also be made
out of metal. The instrument consists of two cups with curved dips on one side. These cups are
manufactured in a specific way to create a unique sound. They’re drilled so one cup is a higher
pitch than the other.
B. Guitar - a fretted musical instrument that usually has six strings. It is typically played with
both hands by strumming or plucking the strings with either a guitar pick or the
fingers/fingernails of one hand, while simultaneously fretting with the fingers of the other hand.
The sound of the vibrating strings is projected by means of the hollow chamber of the guitar.
C. Accordion - The accordion consists of metal reeds blown by bellows and played with keys
and buttons. In Spain, the accordion is popular in Basque music. They know the accordion as
“trikitixa,” which means “hand-sound.”
D. Maracas - These are handheld percussion instruments. Maracas comprises an enclosed shell
filled with rice, dried beans, or seeds.
E. Güiro - The güiro itself is a hollow gourd with notches cut in one side. The other piece is a
púa which is an object comprised of multiple metal threads. You rub the púa along the güiro
notches to make a ratchet-like sound.

DANCE

Filipinos already had their own set of music and dances before the Spaniards came;
dances were performed for different reasons, from weddings up to religious feasts, even to
prepare for or celebrate war. As the Spanish colonizers realized the relevance of these dances for
Filipinos, dancing was utilized as a relevant social activity. Some of the first dances they
presented were the rigodon, Virginia, and lanceros; these were dances done for the higher class
and special fiestas. Filipino dance styles like the kumintang, type of song and dance, and dances
like the Pampangois, a dance distinguished for its lion-like actions and hand clapping, were
pushed aside when the Spaniards had come.

However, they were later remade with influences from new Spanish dances such as the
fandaggo, lanceros, curacha, and rigodon. As European dances had more sharp and fast steps,
Filipinos softened these movements when they were recreated. Other features that were done
when adopting these European dances was the addition of local elements like using bamboo,
pamaypays (local fans), and coconut or shell castanets.
A. Tinikling - The Tinikling is a dance from Leyte which involves two individual performers
hitting bamboo poles, using them to beat, tap, and slide on the ground, in co-ordination with one
or more dancers who steps over and in between poles. This is one of the more iconic Philippine
dances, and is similar to other Southeast Asian bamboo dances.

B. Carinosa - The Cariñosa (meaning "loving" or "affectionate one") is the national dance and is
part of the María Clara suite of Philippine folk dances. It is notable for use of the fan and
handkerchief in amplifying romantic gestures expressed by the couple performing the traditional
courtship dance. The dance is similar to the Mexican Jarabe Tapatío, and is related to the
Kuracha, Amenudo and Kuradang dances in the Visayas and Mindanao Area.

VISUALS

Visual arts in the Philippines can be described as a fusion of western and native cultural
influences. The Spanish friars were the ones who introduced the western styles of painting and
engraving to the Filipinos through the art which was mainly on religious themes since these
forms back then were strictly for the church or religious purposes only. Images of the Holy
Family and the saints were introduced to the Filipinos through carved “santos”, the “via crucis”,
engravings on “estampitas”, and through glass paintings on church walls.
 CONCLUSION

The Spaniards conquered the Philippines for 333 years. No unity, no proper government,
divided tribes. Those are some reasons on why the Spanish easily conquered our land. We
adapted their culture, traditions, and even their languages which we used until today. The
Spanish took advantage of the already divided up people in the Philippines and easily dominated
them. If the Spaniards did not colonize our country, we wouldn’t have our religion today, the
Christianity. We all know that they were the one who presented our today’s religion, even
forcing the Filipinos before, converting us to worship their religion hence artworks revolving
around it were made. The religion itself gave a huge impact to our country that it changed our
ways and beliefs.