PERFORMING ART FORMS

Invlove a performer doing certain actions and movements usually

accompanied by a sound in a particular space and time for an audience.

In the Philippines, performing arts is shaped by the country’s long history of

colonization and characterized by the diverse cultural practices within the
nation. In general, Philippine performing arts have its roots in the
indigenous practice of rituals. It is believed that the rituals of early Filipino
ancestors is the very origins of theatre arts in the country. After all, it
fulfills all the necessary materials needed in theatre. The shamans or
babaylans perform a ritual that involve going through a trance. its
choreography usually involves the partaking of an animal sacrifice. This is
accompanied by the chanting of the crowd or even rhythmic playing of
indigenous musical instruments. Further, it is done usually in front of an
audience or the entire community.

CONTEMPORARY ART
It is integrative for it combines, unify things to produce a masterpiece and
it uses art disciplines

ART - LATIN “ARS” - skill

- GREEK “TECHNE” - technology
- anything that starts as a structure and picture, mahawakan and
mapasukan

TWO TYPES:
GRAPHIC/FLAT ARTS
- length and width
- 2 dimnesional artwork
- painting, drawing, photo

PLASTIC ART
-3 dimensional
- volume
- building, sculpture

LITERARY ARTS
-writing
Poetry - lines, stanzas, rhyming words, oldest form
Prose - not part of poetry
- sentences
- grammatical aspects
- narrative
Drama - written before played
Story - backbone of movies

PERFORMING ARTS
Written lyrics, dramatization and multimedia productions
- dancing, theotrical play
- constitute music, dance and theatre
3 KINDS OF PERFORMING ARTS
AUDITORY for music

a. Rhythm - movement, fluctuation, or variation marked by the regular

recurrence or natural flow of related elements

b. Pitch - highness or lowness of sound

c. Melody - a rhythmic succession of single tones organized as an aesthetic

whole

d. Musical Notations - the act, process, method, or an instance of

representing by a system or set of marks, signs, figures, or characters used
in music

e. Harmony - the combination of simultaneous musical notes in a chord

f. Timbre - the perceived sound quality of a musical tone which sets it apart
from other tones. This may be described as soft, rough, hoarse, cold, and
other similar adjectives.

KINESTHETIC for dance, which has the following elements:

a. Human body - the body is the center of the performance activity. It
performs the actions and movements necessary to the piece. With that, it is
considered to be the main medium in performing arts.

b. Arrangement or pattern - the movements and steps which enable the

performers to perform in an organized manner.

c. Time and space - performing arts depend highly on time and space. The
other elements must all come together to complement the available and
selected time and space.

DRAMATICS for theatre, which has the following elements:

a. Stage direction - instructions indicating movement, blockings or positions,

and other nuances in the performers’ speaking, movement, and acting

b. Narratology - the narrative structure of the piece

c. Scenic design - the artistic design that creates the background or scene to
complement the performances

ELEMENTS AND PRINCIPLES: VISUAL/GRAPHIC

SPACE - emptiness
2 kinds - positive (enclosed ang anong figure pinoportray) and negative
(opposite part)

LINE - series of points

Form - curved, dotted, vertical, horizontal, diagonal, broken
Ex. Doodle

SHAPE/FORM - alone considered as 2 dimensional expression for it only has

length and width
- geometric
- organic (free flowing)
-abstract (does not intend to create a shape) (lacking
definition) (no meaning)

SHAPE (2 DIMENSIONAL EXPRESSION)

FORM (ADDED WITH VOLUME HAS STRUCTURE) EX SCULPTURE
Both of these are connected because to produce a sculpture artwork you
must first draft a sculpture (2d) and creating the sculpture (3d)

COLOR - depicts feelings and natural phenomena

Value - indicates lightness and darkness

TEXTURE - tactile, makes work to look rough/smooth, appeals to our sense

of touch

PRINCIPLES:
HARMONY - UNITY, NOT MESSY, ORGANIZED

SCALE/PROPORTION - COMPARE

VARIETY - VARIETY OF DESIGNS, IT DISPLAYS DIVERSITY BECAUSE OF

ADDITIONAL ELEMENTS

MOVEMENT -INCORPORATES A PASSAGE OF TIME

- ILLUSORY MANNER

RHYTHM - REPETITION OF PATTERN

BALANCE
3 kinds
*symmetrical - equally divided, formal balance
*asymmetrical - informal, not equally balanced
* radial - shapes are extending

EMPHASIS - gives or exemplify a greater importance to something

VISUAL

PRECOLONIAL - Philippines has established art before the arrival of the

colonizers. Social utility - ginagamit in their everyday lives like weaving,
planting which are still prominent today na ginagawa ng mga GAMABA
awardees kagaya po ng tabungaw hat ni Teofilo Garcia
SPANISH COLONIAL ART - huge contribution is the catholicism, and evident
evidence po nito na makikita na meron pa even upto this day ay ang
churches, practices, sculpture of saints. added a religious dimension to
painting and sculpting by making saints and Biblical events the focus of its
subjects

AMERICAN AND JAPANESE - established education and also the birth of

modern Phil. Literuature in english example Paz Benitez’ work entitled dead
stars.

JAPANESE - it helped people to express themselves, displaying nationalism

CONTEMPORARY ART - started during the term of Ferdinand Marcos

- people became more liberated meaning free to
express and to integrate art

VISUAL ARTS
In the Philippines, visual arts is characterized by the manifestations of a
wide array of cultural influence to the country. Specifically, it is marked by
ethnic, Spanish, American, and contemporary traditions. The indigeneous
people, as early as then, they were involved in sculpting, pottery, weaving,
and other practices. Apart from social utility, their visual artworks also
usually had a spiritual significance. For example, the patterns in their
textiles suggested their religious beliefs.

As for the colonizers, their influence in the Philippine visual arts is

significant and it remains prominent until today. The Spaniards , while the
Americans saw a push and pull between liberated and conservative beliefs
as it saw the rise of more secular themes. Today, contemporary visual art is
marked by how it rebels against the rules of form; with the rise of new
media and advanced technological tools, more people are becoming open to
experimentation and the mixing of forms.

THREE TYPES OF VISUAL ARTS ACCORDING TO MATERIALS AND APPROACHES

- two-dimensional expression, three-dimensional expression and multi-
dimensional expression

Two-dimensional expression is mainly flat because it only has length and

width
Techniques:
ALLA PRIMA
- also known as wet-on-wet or when you paint over a layer of wet paint

ENCAUSTIC
-also known as hot wax painting or when you add pigment or beeswax and
use it to paint.

TEMPERA
- adding pigment to water-soluble binder medium such as egg yolk
Three-dimensional expression apart from having length and width has
volume those with frontal view, side view and top view

FRESCO
- a mural painting technique that involoves painting over fresh plaster.

WATERCOLOR
- When pigments are suspended in a water-based solution

OIL ON CANVAS
- adding pigments to drying oil for binder

MOSAIC
- when small pieces are assembled together (glass, stone, seeds etc.) to
form an image

STAINED GLASS
- when an artwork is made with coloured glass

TAPESTRY
- textile art woven on a vertical loom

DRAWING
-using a writing materials to mark a two-dimensional canvas such as paper
and form an image.

PHOTOGRAPHY
-creating images with light

Techniques
MOLDING
- it is when you reshape an object to create a new form examples are
marbles and plasters as house deco

CARVING
- is when we scrape off parts of a material to create a new form ex. Wooden
statues

ETCHING
- when we use strong acids on a surface to create a design ex. Copper plates

INSTALLING
- site specific artwork that was designed to transform the perception of a
space with its message. Art installation of a whale

Mult-dimensional expression
-aside from length, width and volume. Multi-dimension also integrate mass,
time and space with various techniques.
LASHING CONSTRUCTION
- observe an arrangement of rope or wire or webbing to secure, facsten and
hold two or more things together

TRUSS CONSTRUCTION
- assembly of beams or other eleents interconnected triangle to create
interconnected triangles to create a single rigid structure commonly use in
bridge, roofs and towers

POST AND LINTEL

- 2 uprigth members, the posts with spaces between them holding a third
member, the lintel laid horizontally across their top surfaces usually to hold
a roof

CANTILEVER
- technique for projecting horizontal beam supported at only one end and
carrying a load at the other end or distributed along the unsupported
portion

ARCHES
-curved members used to san an opening elevated spaces that may or may
not support the weight above it.

UNIT III - CONTEMPORARY ARTS

Modern Art is not the same as Contemporary Art, although they could share
some characteristics, sources, and influences. However, it is also possible to
integrate and transform elements from Modern into Contemporary Art.

Differences
Historical and Chronological
-IMPOSSIBLE TO INTEGRATE
CONTEMPORARY standard focuses on integration and diverse methods.
MODERN does not idealize reality and is more on experimentation as they do
not follow art principles.
-CONTEMPORARY ART INTEGRATES METHODS AND CAN BE TRANSFORMED TO
MODERN ART

Can be used simultaneously but there is also danger of using them carelessly
so it is important to know the historical and stylistic contexts of the terms.
CONTEMPORARY ART
Contemporary Art can be defined as art produced by artists living today, it
is mistakenly referred by people as modern art, although, modern art and
contemporary art could have some characteristics and influence and the
elements in modern art can be transformed or integrated to contemporary
arts.

EX.
-Ibn Saud Salipyasin Ahmad from Zamboanga
He comes from a hybrid mixture of the local Subanen and traditional
Maguindanao Muslim cultures. He is a contemporary artist but his cultural
context is indigenous Southeast Asian and Philippine Muslim. His style can be
considered “traditional” or “modern” as it draws on the tradition and
intricacy of drafting technique.

Ex.
Imelda Endaya, she is a contemporary artist who was influences by social
realism. Her Filipina DH artwork is an example of social realist but the style
and medium of the installation is markedly different.

Refer to “The Stylistic Overview” table (Figure 1.9) for an idea of the
difference in style of the difference in style and medium between Modern
and Contemporary
Art.

The “contemporary” is therefore a fluid term, and its use can change
depending on the contexts, in this case historical and stylistic. At times, the
Modern and Contemporary can be used simultaneously or interchangeable;
however, there is also danger of using them carelessly or loosely. Thus, it is
important to know the historical, and stylistic contexts of the terms.

-NEW, ADVANCE
-DYNAMIC
-INTEGRATE DIFFERENT ARTWORKS
-ART OF TODAY
-BLOOMS FROM 20TH CENTURY UP UNTIL 21ST CENTURY

General Characteristics
-Diversed and dynamic
- You can innovate kase kung anong available yun lang din ang gagamitin
which displays innovation

filmmaker Kidlat Tahimik and his family perform their life as their art and ,
as they have associated with a mix performance, installation, architecture,
and culinary arts. It is hard to separate the artist from his space of practice,
and his lifewor and additionally it shows that it is not his work alone for it is
a collaborative, interactive and process-oriented kind of work.

MODERN ART
National Artist Victorio Edades is credited for initiating the Modern Art
movement that challenged the Neoclassic style, which was dominant at the
time he came home from studying in America before the war.
-CHALLENGED THE NEOCLASSIC STYLE ARTISTS
-ARTISTS GO BEYOND THE ART
-THEY DO NOT FOLLOW THE ART PRINCIPLES
-REFERRED AS TRADITIONAL

Romeo Tabuena,
Hernando Ocampo,
Vicente Manansala,
Victor Oteyza,
Ramon Estella,
and Cesar Legaspi

Social Realism continues to influence contemporary artists. For example,

Imelda Cajipe-Endaya’s Filipina DH, 1995 is social realist, but the style and
medium of the installation is markedly different.
Modern artists depicted society’s problems and challenged the Neoclassic
rural-pastoral style associated with Amorsolo and Tolentino. The Social
Realists of the seventies are considered heirs of the tradition.

Modern artists do not aim to copy and idealize reality; instead they change
the colors and flatten the picture instead of creating Illusions of depth,
nearness, and farness. Instead of the beautiful and pastoral, they depict
what might be thought of as “ugly” and unpleasant.

It is also very useful to know where the artists are coming from and the
circumstances of making and disseminating their art. Aside from stylistic
overview, cultural overview should be considered as well.

Ex. An artist who was born during the spanish era then he/she would depict
art differently.
NEOCLASSIC ART
-DEPICTS REALITY/REAL SITUATIONS
-DESCRIBED AS ACADEMIC BY GUILLERMO TOLENTINO
-COMFORTABLE AND FAMILIAR ART
-ASSOCIATED WITH GUILLERMO AND TOLENTINO

SUBJECT
-in the arts refers to what they are all about
-may be representational or figurative, which means the image is drawn
from the world around us
-makikita sa surface
-are figures and representations na makikita sa physical world
- sometimes it is not present but it still makes sense or it is non-
representational or non-figurative like abstract for it lacks definition. Its
subject is its form and elements - its texture, color, composition, shape or
movement, among others.

THEMES
- beyond the surface which need to decipher
- appeals to our senses
- Can be determined thru:
● Title
● Artist
● Medium
● Dimension
● And the year it was made
Beyond these initial data are:
● Texts
● Images
● Allusions
● Symbols

These data clue us in on the social and historical contexts referred to. It is
at this level of symbolism and allegory that the thematic plane operates.

It is difficult to separate both of these because theme appeals to our senses

and we cannot use it if the subject is not present for using our senses is the
initial step to know how it is presented.

RESEARCH IS IMPORTANT BECAUSE THERE ARE OTHER WAYS TO PORTRAY AN

ARTWORK, IT DEPENDS ON THE CONDITIONS OF A SPECIFIC PLACE AND THE
PREFERENCES OF THE AUTHORITIES WHO HAVE POWER TO DECIDE ON
DETAILS, WHICH OR MAY NOT CONSIDER OR REFLECT THOSE OF THE
COMMUNITY IN THAT LOCALITY.
Themes:
Heroism and Identity
EX. Jose Rizal Monument, the obivous subject is Jose Rizal, depicting the
national identity and heroism theme.

Heroism and Ecology

Topics in Contempo art

Ecology
Spirituality
Everyday life
Identity

UNIT IV NATIONAL ARTIST IN THE PHILIPPINES

Established in 1972 under Presidential Decree No. 1001 issued by then
President Ferdinand Marcos., the National Artist Awards (NAA) remains to be
the highest award-giving body in the Philippine art scene.

The award is conferred every three years through a rigorous deliberation

and selection process jointly facilitated by two major cultural offices, the
National Commission for Culture and the Arts and the Cultural Center of the
Philippines.

QUALIFICATIONS
1. Living artists who have been Filipino citizens for the last ten
years prior to nomination as well as those who have died after
the establishment of the award in 1972 but were Filipino citizens
at the time of their death;

2. Artists who have helped build a Filipino sense of nationhood

through the content and form of their works;

3. Artists who have distinguished themselves by pioneering in a

mode of creative expression or style, making an impact on
succeeding generations of artists;

4. Artists who have created a significant body of works and/or have

consistently displayed excellence in the practice of their art form,
enriching artistic expression or style; and

5. Artists who enjoy broad acceptance through prestigious national

and/or international recognition, awards in prestigious national
and/or international events, critical acclaim and/or reviews of
their works, and/or respect and esteem from peers within an
artistic discipline.
SELECTION
1. Nominations are then submitted to the National
Artist Secretariat that is created by the National
Artist Award Committee; experts from the
different art fields then sit on a First Deliberation
to prepare the short list of nominees.

2. A Second Deliberation, which is a joint meeting

of the Commissioners of the NCCA and the
Board of Trustees of the CCP, decides on the
final nominees.

3. The list is then forwarded to the President of the

Philippines, who, by Presidential Proclamation,
proclaims the final nominees as members of the
Order of National Artists.

HONORS AND PRIVILEGES

1. The rank and title of National Artist, as proclaimed by the President of
the Republic of the Philippines.
2. The insignia of a National Artist and a citation.
3. A lifetime emolument and physical benefits such
as:
a. A cash award of ₱100,000.00 (for living
awardees) or ₱75,000.00 (for posthumous
awardees to the legal heir/s) net of taxes;

b. A life insurance coverage, monthly life

pension, medical and hospitalization benefits;

c. A state funeral and burial at the Libingan ng

mga Bayani;

d. A place of honor and recognition at cultural

events.

WORKS PF NATIONAL ARTISTS IN PUBLIC SPACES

Oblation - classically trained scupltor guillermo toletino
Abdulmari Asia Imao’s calligraphic work done in the ‘80s (awarded 2006) at
the sculpture garden of the Vargas Museum is one of the largest public
sculptures he made. Benedicto Cabrera’s (awarded 2006) iconic Variations
of Sabel (2015) made of aluminum sheets can also be found at the UP
Theater

Jose Joya (awarded 2003) and sculptor 4 Copyright © 2018 Quipper Limited
Napoleon Abueva (awarded 1976) produced commissioned works that have
become part of the university’s visual arts heritage. Joya’s mural in the
Virata School of Business titled Barter of Panay (1978) is rendered in the
Abstract Expressionist style and consists of soft, overlapping planes of black,
white, orange, brown, and golden yellow. Without rendering human forms,
the solid color palette establishes links to the legend, referencing the trade
between Datu Puti and King Marikudo, the former bearing gold accessories
to purchase the lowlands of Panay from the latter. Fronting the same
school, Abueva’s abstract sculpture Spirit of Business (1979) seems to be
drawn from science fiction, composed of a metal disk with sharp-looking
poles jutting through it.

COLLABORATIVE
The actor, filmmaker, and producer Manuel Conde (awarded 2009) worked
with Carlos V. Francisco (awarded 1973) in many of his films. One of these
films was the acclaimed Genghis Khan (1950), which told the epic adventure
of a Mongolian conqueror.

UNIT V GMABA
Also known as the National Living Treasures Award – institutionalized
through Republic Act No. 7355 in April of 1992.

Importance
it becomes even more important to acknowledge traditional artworks from
the regions and promote them.

National Living Treasures, more formally known as the awardees of the

Gawad sa Manlilikha ng Bayan
(GAMABA) from the National Commission for Culture and the Arts or NCCA.
The awardees
produce art forms that are woven into everyday life. These demonstrate
how pre-colonial
traditions persist through to the present.

The NCCA, through the Gawad sa Manlilikha ng Bayan Committee and an Ad

Hoc Panel of Experts, conducts thesearch for the finest traditional artists of
the land.
As envisioned under R.A. 7355,

“Manlilikha ng Bayan”

shall mean a citizen engaged in

any traditional art uniquely
Filipino whose distinctive skills
have reached such a high level

of technical and artistic

excellence and have been
passed on to and widely
practiced by the present

generation in his/her community

with the same degree of

technical and artistic
competence.

QUALIFICATIONS

To become a “Manlilikha ng Bayan”, the candidate must possess the

following qualifications:

a. He/she is an inhabitant of an indigenous/traditional cultural

community anywhere in the Philippines that has preserved
indigenous customs, beliefs, rituals and traditions and/or has
syncretized whatever external elements that have influenced it.

b. He/she must have engaged in a folk art tradition that has been in
existence and documented for at least fifty (50) years.

c. He/she must have consistently performed or produced over a

significant period, works of superior and distinctive quality.

d. He/she must possess a mastery of tools and materials needed by

the art, and must have an established reputation in the art as
master and maker of works of extraordinary technical quality.

e. He/she must have passed on and/or will pass on to other members

of the community their skills in the folk art for which the community
is traditionally known.

Considerations

A traditional artist who possesses all the qualities of a Manlilikha ng Bayan

candidate, but due to age or infirmity has left him/her incapable of
teaching further his/her craft, may still be recognized if:

a. He/she had created a significant body of works and/or has

consistently displayed excellence in the practice of his/her
art, thus achieving important contributions for its
b. He/she has been instrumental in the revitalization of his/her
community’s artistic tradition.

c. He/she has passed on to the other members of the

community skills in the folk art for which the community is
traditionally known.

d. His/her community has recognized him/her as master and

teacher of his/her craft.

HONORS AND PRIVILEGES

1. A Manlilikha ng Bayan awardee receives a
specially designed gold medallion, an initial grant
of P100,000 and P10,000 monthly stipend for life;
2. In consonance with the provision of Republic Act
No. 7355, which states that “the monetary grant
may be increased whenever circumstances so
warrant,” the NCCA board approved an additional
monthly personal allowance of P14,000 for the
awardees; and

3. A maximum cumulative amount of P750,000

medical and hospitalization benefits annually
similar to that received by the National Artists and
funeral assistance/tribute fit for a National Living
Treasure.

How does tradition become contemporary, and the contemporary

traditional?
An example would be Teofilo Garcia, we can perceive that traditional art in
the Philippines has always been contemporary in a sense that it is an art
that is being made now and his work integrates contemporary process and
methods. The tabungaw hat is an example for it displays local scientific
knowledge and art.

Garcia has been named Manlilikhang Bayan (“one who creates for the
country”) or National Living Treasure. Twelve individuals have received this
distinction from the time of the establishment of the award in 1992 through
Republic Act No. 7355 until 2012. The National Commission for Culture and
the Arts (NCCA) bestows the highest awards for culture and the arts,
including the National Artist Award, which we discussed in the previous unit.
The said award and the GAMABA recognize the outstanding work of artists in
the Philippines.

Traditional art is based on indigenous peoples’ cultures that are largely

honed by oral tradition.
Difficulties in the Selection Process
The archipelagic orientation of the Philippines makes some locations
challenging to reach by land, air, or sea. Places that pose security risks,
particularly militarized zones prevent the sustained entry of researchers and
possibly diminish reception outside of the locality. This is partly why the
awarding does not follow a regular pattern, as the column on Year of
Conferment on the table of GAMABA awardees shows. The award-giving
body, through its cultural workers, is entrusted with an equally significant
and difficult responsibility of being critical, transparent, and judicious in
the processes entailed by the GAMABA, from the selection, awarding, and
even beyond.
Effect of the GAMABA in the communities Since the artists are very much
entrenched in their localities, the award system might create a division
within the communities when one person is elevated to the status of a
national awardee. The attention and the entry of outsiders may create a
disruption that may also change, not just the social and economic
relationships, but also the people’s attitudes, concepts, and definitions of
the art forms and the processes.

The traditional artists’ mode of production continues to be affected with

the dynamics of change. Environmental degradation ushered in by
calamities, modernization, and capitalistic endeavors displace the
indigenous peoples from their ancestral land. As their home base, it is
considered of paramount importance—this is where resources are gathered
and shared, and where culture is performed. The following factors affect
the traditional artist’s production process:

1. Tourism – Land areas are converted into sites for tourist consumption.
Ecological domains become more susceptible to damage with the combined
forces of natural disasters and tourist mobility. Dances and rituals are
staged for an external audience rather than for the community’s observance
of tradition. Art forms native to the community tend to diminish in quality.
Removed from their original context, the works

2. Mining and infrastructure projects – The construction of dams and the

establishment of oil and mining companies evict people from their dwellings
and severely damage the environment. Deprived of the bounty of land,
indigenous groups are prompted to seek short-term employment from these
industries in order to make ends meet in a money economy.

3. Militarization – The insecurity and tensions brought about by militarized

zones arrest the people’s ability to create art. It prevents people from
having communal gatherings, where exchanges and passing of knowledge
can take place.

4. Christianization – The influence of Christianity and the conversion of the

natives to a foreign religion have caused members of the community to
forsake their indigenous rituals and traditions. At worse, people are led to
believe that the latter are primitive and therefore their practice has no
place in contemporary culture. In some cases however, the community finds
a way to.

While the Order of National Artists (ONA) is the highest state honor given to
Philippine practitioners of the classical western arts, Gamaba is conferred on
practitioners of traditional arts who mostly come from the indigenous cultural
communities. 

National Artists make substantial and significant works to create impact by

their own mode or style and to inspire the succeeding generations. While,
GAMABA awardees are composed only of traditional artists that sticks only to
the traditional way of performing art form, they help preserve our culture and
traditions.

Gawad sa Manlilikha ng Bayan

-awarded by National Commission for the Culture and Arts

(NCCA) together with an Ad Hoc Panel of Experts
-leaning on traditional art, where an artist has high-level skill of a
traditional art uniquely Filipino and is passed on and widely practiced
by the present generation

National Artists Award

-awarded by the NCCA, Cultural Center of the Philippines,
conferred by the Philippine President
-highest national recognition given to Filipinos who made huge
contributions to Philippine arts like music, dance, theatre, etc.