Different Contemporary Art

Techniques & Performance

Practices
CONTENT
1. Local materials used as
applied to
contemporary art.
2. Traditional techniques
applied to
contemporary
creation.
Learning Competencies
1. Researches on techniques & performance
practices applied to contemporary arts
2. Identifies local materials used in creating art
3. Critiques available materials & appropriate
techniques.
4. Justifies the use of materials & the application of
techniques.

A penny for your thought?

Contemporary art differs from modern and
traditional art, thus it is relevant to ask if
different methods should be used for teaching.
For example, which should be the guiding
methodological principles? Which methods are
effective and coherent for teaching and
learning different practices of contemporary
art?
 just a
glimpse of

Contemporary Art
 Conceptual - focus is on the
idea, which can be
either abstract or social;

Social – current social & political topics are dealt

with, often from
critical
perspective

Leslie de Chavez,
"Dubious Integrity",
Mixed Media, 2002

Mandirigma’ libretto by
Expressive
– both content
& form is meaningful & Tiongson, music by
Joed Balsamo,
communicative choreography by

Imao, direction by
Chris Millado

Popular culture
- issues and
aspects of popular culture are
dealt with, either
by
conceptualizing or criticizing;
Poetic- content or form is
poetic in nature;

Biographical- means of expression

can be social, poetical or
expressive;
 Ronald Ventura,
'Blind Child'
2011
‘Opera’ : Sculpture in
Dance
Documentary
- approach
is documentary or holds
elements of research;

Sense related- total art work,

installations which are often
interactive and affect different
senses.
 Ballet Philippines
2016
just a glimpse of

Contemporary Art
Education
 Interdisciplinarity- combiningor involving
twoor moreacademicdisciplinesor fields
of study into one activity.
(Hardy, 2006; Page et al, 2006; Parsons, 2004;
Zupancic, 2005)

Interaction and Engagement

(Illeris, 2005; Page et al, 2006; Parsons,
2004)
Arts in Development
 Interpretation
(Atkinson, 2002; Charman & Ross, 2006; Emery, 2006;
Zupancic, 2005)

Sipat Lawin Ensemble

Synthesis of new media

(Atkinson, 2002; Illeris, 2005)
 How can we attain the
content ?
1. Local materials used as applied
to contemporary art.
2. Traditional techniques applied
to contemporary creation.
 Local Materials in the Philippines
Materials Products
Abaca belongs to Banana family. slippers, ropes,
Its fiber has a natural luster with twine, hammock,
colors ranging from pure white to frame, display jar,
ivory and dark brown. jars, Chelsea
chair
 Local Materials in the Philippines
Bakbak is the outermost covering mat, bangkuay
or leaf sheath of the abaca stalk. bin, boxes, bin,
It is a flat thick durable sheath as display, jar,
twine or braided. The strong Cecilia dining
brown fiber used to make table, and arm
furniture. chair

Materials Product
 Local Materials in the Philippines
Bamboo is used a raw material kubing, bungkaka,
in creating many products. It is tongatong,
used in construction, textile, angklung,
musical instruments, weapons, pateteg, gabbang,
and many more.
Buntal is a cylindrically bags, shoes,desk
accessories like pen
shaped fibers. The supple holder, picture
ivory white strands are quite frames, file trays,
durable, pliable, and have wallets, place mats,
braide, lampshades,
good dyeing qualities. window blinds
 Local Materials in the Philippines
Materials Product
Buri is extracted from the hats, bags,
baskets,
matured leaves of the buri memorabilia boxes,
palm. The fiber is durable perfume tray, &
and resistant to moisture. other woven
products
Coir is the fibrous material indoor or outdoor
fiber carpets, wall
surrounding the fruit of the covering, doormat,
coconut tree. trellises, and geo
textiles

Materials Product
 Local Materials in the Philippines
Nito is a plant belonging to bags, bread
the fern family that grows tray, lampshade
abundantly in the hinterlands and decorative
jar
of Mindanao.
Pandan is a tropical plant. baskets, hats,
It is processed and transformed picture frames
into splints that are being used and bags
as raw material.

Materials Product
 Local Materials in the Philippines
Raffia is a fiber extracted from hats, placemats,
unopened buri leaf in 3 stages. It folder, shoes,
slippers, boxes,
is loom woven into fabrics or used
portfolio and ladies
as wall coverings, upholstery bags, placemats,
material, folding doors and circular, boxes,
window hangings. document boxes.
Rattan belongs to the palm baskets, picture
frames, furniture and
family. There are different types other novelty items,
of rattan palms, such as high or Zoya lounge chair,
Valencia queen size
low climbers, single stemmed or bed, Rest divan.
clustered rattan species.
 Local Materials in the Philippines
Materials Product
Tikiw is a large, erect, and baskets, hampers
aquatic or marshy herb plant. It is with lids, bags, rugs,
carpets, placemats,
found in central Luzon to
jar, and other
Mindanao . It aboundis in fresh decorative items.
water swaps, and in newly
opened rice land at low altitudes.
Tikog belongs to sea grasses. It bags, decorative
is a native reed plant used as a mats, hampers,
raw material for mat weaving. newspaper racks,
table mat, waste bin,
tower candle holder,
wall décor.
 Let’s
think
about it!

What are
the other
materials
 that are abundant in the
regions?
Techniques
• Mixed media is a term used to describe
artworks composed from a combination of
different media or materials. A work on
canvas that combines paint, ink, and
collage could properly be called a "mixed
media" work.
• New media art is a 21st Century catchall
term used to define all that is related to the
 internet and the interplay between
technology, images and sound.
Ballet Philippines' Opera
https://www.youtube.com/watch?v=S4sFtPEp2lQ

The Cheshire Cat- Interactive Projection Dance

https://www.youtube.com/watch?v=ag7DBy4vhlQ

Tanghalang Pilipino (Mabining Mandirigma)

https://www.youtube.com/watch?v=cYar4IBNuXU

New Media Art Performing: "The Inheritance", 10 min version

https://www.youtube.com/watch?v=AIehsaH_rYk
 Improvisation
Improvisation in theater is the playing of
dramatic scenes without written dialogue &
with minimal or no predetermined dramatic
activity.
Most or all of what is performed is created at
the moment it is performed. In its purest
form, the dialogue, action, story, and
characters are created collaboratively by the
players as the improvisation unfolds in
 present time, without use of an already
prepared, written script.
An important goal of improvisation is to enable the
individual to develop spontaneity which is
necessary in creating the illusion of reality.
The improvisation teacher must expose students
to the theatrical environment through various
games rather than lectures.

Forms of Improvisation
1. Shortform – short scenes constructed from
predetermined game.
2. Longform – scenes related by story or
character
Creative Drama
• It is an improvisational, non-exhibitional, process
centered form of drama in which participants are
guided by a leader to imagine, enact, and reflect
upon human experiences.
• This process allows students to actively explore
a subject or question through imaginative play
that is facilitated by a leader and may involve a
variety of improvisational activities.
• These activities are not scripted or memorized,
and they allow students to synthesize various
educational concepts into a personally
meaningful form.
Improvisation Games
1.Spontaneous Response
Games
2.Spontaneous Movement
3.Creative Movement
4.Interactive Storytelling
 Che che gule
Che cupiza
Cupiza langga
Langga te langga
Kumbalele
Aki-taki-umba
Hi-diddle-hi-diddle-hi-diddle-ho Aki-
taki-umba
References:
Atkinson, D. (2002). Art in Education: Identity and Practice. Dordrecht,
Boston, London: Kluwer Academic publishers.
Charman, H., Ross, M. (2006). Contemporary Art and the Role of
Interpretation: Reflections from Tate Modern’s Summer Institute for
Teachers. International Journal of Art Design Education, 1, 28 - 41.
Conti, G., Kolody, R. (1998). Guidelines for Selecting Methods and
Techniques. In. Adult Learning Methods: A Guide for Effective
Instruction. M.W. Galbraith (Ed.). Malabar, Florida: Krieger publishing
Company, 73 - 89.
 Danto, A.C. (1992). Beyond the Brillo Box: The Visual Arts in
Posthistorical Perspective. New York: The Noonday Press: Farrar ,
Straus, Giroux.
Danto, A.C. (1995). After the End of Art: contemporary art and the pale
of history. New Jersey, Chisester: Princeton University Press. Efland,
A., Freedman, K., Stuhr, P. (1996). Postmodern Art Education: An Approach to
Curriculum. Virginia: The National Art Education Association.
Emery, L. (2006). Censorship in Contemporary Art Education. In. Art education in a
Postmodern World: Collected Essays.T.Hardy. (Ed.). Bristol: Intellect Ltd. 33 - 44.
Gardner, H. (1995). Reflections on multiple intelligences. Phi Delta Kappan, 77(3),
200.
Hardy, Tom (2006). Introduction: Nailing Jelly: Art Education in a Postmodern World.
In. Art education in a Postmodern World: Collected Essays. T. Hardy (Ed.). Bristol:
Intellect Ltd.
Illeris, H. (2005). Young People and Contemporary Art. International Journal of Art
Design Education, 24(3), 231-242.
Kidron, A. (1999). 122 õpetamistarkust. Tallinn: Andras & Mondo.
Lind, V. (2007). High quality professional development: An investigation of the
supports for and barriers to professional development in arts education.
International Journal of Education & the Arts, 2, 1 - 18.
Page, T. Herne, S., Dash, P., Charman., Atkinson, D., Adams, J. with: Benjamins, R.,
Dickens, C., Gigg, C., Hutchins, H., Law, A., Morris, J., Ovington, M.J., Sanders, P.,
Thompson, E., Ward., H., Whelan, L. (2006). Teaching Now with the Living: A
Dialogue with Teachers Investigating Contemporary Art Practices. International
Journal of Art and Design Education, 2, 146 - 155.
Parson, M. (2004). Art and Integrated Curriculum. In Handbook of Research andPolicy
in Art Education.E.W.Eisner, M.D. Day (Eds.). Mahwah, London: National Art
Education Association, Lawrence Erlbaum Associates, Publishers, 775 - 794. Roucher,
Nancy, Lovano-Kerr, Jessie (1995). Can the arts maintain integrity in interdisciplinary
learning? Arts Education Policy Review, 96 (4), 20-26.
Zupancic, T. (2005). Contemporary artworks and art education, International Journal of
Education through Art, 1,29 - 41.
sa pagbabahagi ng
kaalaman
Mabuhay ang
SINING!