Madamba, Febbie Mia E. 12 Humss-B - Act. 5, 6

Republic of the Philippines
Department of Education
REGION IV-A CALABARZON
SCHOOLS DIVISION OF QUEZON
QUEZON NATIONAL HIGH SCHOOL
M.L. TAGARAO STREET, IBABANG IYAM, LUCENA CITY
Contemporary Philippine Arts From The Regions

Week 5 - Elements of Arts and Principle of Composition
MELC: Evaluates contemporary art forms based on the element and principles.
The elements of art, like mediums and technique in the previous lesson, are aspects of form. However, these elements
do not exist in a vacuum. They convey meaning, and express ideas and feelings. They are fi rmly rooted in
psychophysical experiences in particular cultures, their values, their priorities, and their conventions. For this section, we
invite you to pay close attention to these elements, and their characteristics, as follows:
A. Line is associated with the body’s axis as it moves toward diff erent directions and adjusts to a point of reference
through various positions and actions, such as walking, running, standing, sitting, reclining, etc. In the visual arts, it also
refers to the quality of the line, whether thin, broken, thick, or blended, among others. When several lines come together,
they create texture, which can be very thin, washed or very thick, rough or fi ne. For example, those entering the UP
Diliman campus from the University Avenue will be welcomed halfway through by the diagonal lines of the “waiting sheds”
of the University Gateway, ca. 1960 sculpture of National Artist Napoleon Abueva. The long approach through
University Avenue emphasizes the distinction of zones - the busy main highway being left behind, but not really
completely cut off (the “town”), and the sprawling fl agship campus of the country’s premier university (the “gown”). At the
end of that portal, one is greeted by the outstretched arms of Guillermo Tolentino’s Oblation. The horizontal lines of the
sculpture are in turn echoed by the Quezon Hall building behind it. The straight, diagonal lines of the modernist waiting
shed connote dynamism and movement, while the vertical and horizontal lines of the Neoclassic Quezon Hall and
Oblation convey balance, symmetry, formality, grace and serenity, in keeping with the University as a zone of
contemplation and learning. In contrast, the Church of the Holy Sacrifi ce, 1955 by National Artist Leandro Locsin is
circular and stays close to the earth, instead of soaring upwards as seen in the traditional basilica structure of the
Spanish colonial period we learned about in Unit 1. The altar is at the center instead of the opposite end of the entrance
and can be approached and seen from diff erent angles and positions. With its open walls, the church is well lit and
ventilated. In a similar way, in dance, the body in classical ballet moves upward, defying gravity. In traditional dance, the
feet are fi rmly planted on the ground, instead of rising on toes. In the pangalay, a dance in Mindanao, the dancer moves
slowly and gracefully, mostly following curvilinear, sculptural directions. Voices in chants also flow in curves, with each
note fusing one into the other. In western classical music, the notes are mostly discrete; one note follows another in
separate and distinct sequence, with a clear beginning, middle, and end. Contemporary performers usually fuse east and
west, as well as the traditional and the new. Bagong Lumad by Joey Ayala, KontraGapi by Edru Abraham, Tau Music by
Grace Nono, and Bullet Dumas (well known for his song Ninuno) are fusion performers. Their music are also known as
“World Music,” examples of which can be found all over the world, such as the music by Yothu Yindi, a band of Australian
aboriginal musicians who integrate rock instruments with indigenous instruments using the idiom of rock music.
B. Color is associated with our experiences of cold and warmth, and the quality of light in our tropical environment,
the cycles of night and day, of darkness and light. One of its aspects is hue, which has PAGE
to do \*
with how light waves
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various lengths and rapidity of vibrations bounce off objects and enter our eyes. A hue is said to be warm when it has
longer wavelengths and is more distinct and easily discernible, for example red, orange, and yellow. Cool hues such as
blue or violet have shorter wavelengths, and seem to merge into each other. Warm colors seem to advance toward us;
cool colors appear to recede. Blue, yellow, and red are primary colors. When they are mixed, they produce secondary
Quezon National High School

Address: M.L. Tagarao Street, Ibabang Iyam, Lucena City
Contact No.: (042) 373-7369 (Principal’s Office); (042) 373-7662 (Department Head’s Office)
Email Address: quezonhigh@yahoo.com
colors: yellow and red make orange; red and blue make violet; blue and yellow make green. When they are placed
opposite each other in the color wheel, they are said to be complementary: red and green, yellow and violet, orange, and
blue. Hues vary in saturation, intensity, or brilliance—another aspect of color. When we mix a brilliant blue with a
neutral hue, such as gray, its hue or blueness does not change; it just becomes less intense or duller. Another aspect,
value or tone, refers to the hue’s brightness or darkness. When a hue is mixed with black, it becomes more dim or
heavy; when it is mixed with white or gray, it lightens. Artists make use of these aspects of color and combine them into
different color schemes. Some artists prefer a polychromatic scheme, meaning it is made up of many colors, as opposed
to others who prefer a monochromatic scheme, using only one color, blue for example, and mixing it with white or gray to
achieve its many tones. Others use no color, preferring black, a color that absorbs all colors, or white, which reflects all of
them. The School of Design and Art (SDA) building of the La Salle College of St. Benilde on Vito Cruz, Manila built by
Architect Lor Calma is achromatic, with white concrete walls interspersed with glass. Combined with its unique floor plan
and structure, the color scheme Contemporary Philippine Arts from the Regions gives the building a futuristic look,
reflecting its cutting edge, industrydriven curricular programs. Visual artists use colors in different ways, depending on
their styles and preferences. Some artists use color as a representational element, intending to depict the world as
accurately as possible. Portraits approximate skin tone and color; landscape and still life depict actual conditions of the
environment through shading, play of light and dark, or chiaroscuro. Amorsolo’s use of color in his portraits is
representational, hewing as closely as possible to skin tone and color of dress and surroundings. His landscapes are said
to capture the colors of the earth, sky and sea, and that of the Philippine sunlight. Most contemporary and Modern artists
are more personal and expressionist in their use of color, taking liberties with color schemes to convey mood,
atmosphere, and symbolic potential, as opposed to conveying literal, meaning. In the River of Life, 1954, Modern artist
Galo Ocampo colored the bodies, the trees, and the earth very differently and intensely, creating a desolate, nightmarish
landscape that conveys his idea of extreme suffering in a depleted world. General Santos-born Leeroy New, a graduate
of the Philippine High School for the Arts in Makiling, Los Baños creates fantasy landscapes with an intense, often
polychromatic color scheme in his painting, costume, set design, sculpture, installation often paired with performance art
as a means of expressing a personal cosmology. On the other hand, the Tausug artist Rameer Tawasil echoes the color
scheme of Mindanao’s material culture, such as in the vinta, which he renders in abstract and stylized shapes. Nestor
Vinluan’s abstract paintings are mostly muted, making us focus on the form and elements of the painting itself, in aid of
quiet, inward-looking reflection, rather than emphasizing an exterior world. Color schemes also depend, not just on the
artist’s personal styles but on materials available and regional variations. The earth hues of T’nalak of the T’bolis and the
dagmay of the Bagobos are handwoven textiles made from abaca. Sulu mats from Laminosa employ different hues from
those of Samar mats.
C. Value refers to gradations of tone from light to dark, which can be an aspect of color as discussed above, but
could also specifically refer to the play of light on an object or a scene. In representational paintings, it is shading,
blending, and chiaroscuro, or the play of light and dark that lend the flat surface an illusion of depth
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representational use of value is also useful in black-and-white photography, where images are given unique character
and meaning in artistic photography, but can also be useful in documentations, as in black and white I.D. photos or in
reportage practices like photojournalism.

D. Texture refers to how objects and surfaces feel, and is most associated with the sense of touch or tactility. Textures
are created, as previously discussed, when several lines combine. The combination may be described as smooth,
translucent, fine, silky, satiny, velvety, sandy, furry, feathery, slimy, gritty, rough, rugged, coarse, porous, irregular,
jagged, thick, thin, and so on. For example, the barong and baro’t saya fabrics are translucent and delicate, while the
crocheted dresses of Aze Ong are soft, yet thick. As Filipino formal dress, the former are appropriate for important
occasions usually done in air-conditioned spaces, and are not for everyday wear. In representational works, textures can
be simulated or imitated. However, textures can also be actual, as can be found in collage, where actual objects are
glued on a surface. For example, Imelda Cajipe-Endaya integrates sawali panes, crocheted lace, fabrics and rope to
make more concrete and more immediate her works’ social and political themes such as feminism, export labor, and anti-
imperialism. The textures of folk art, products of century-old traditions are derived from the materials from the immediate
environment, including baskets and mats.
E. Shape refers to forms that are two-dimensional or three-dimensional. Two-dimensional shapes exist as planes having
length and width. Three-dimensional shapes possess length, width and volume. Shapes can either be geometric
(rectilinear or curvilinear), biomorphic, or free inventions. Stylized and abstract shapes can be seen in local textiles. The
geometric shapes of the binakol by the Tinggians of Abra, Northern Philippines are executed with such mathematical
precision they achieve. an illusionistic effect. The geometric t’nalak of the T’bolis of Southern Mindanao are abstracted
from frogs and other animals that appear in creation stories, while the biomorphic and geometric shapes of the pis syabit
of the Tausugs remind us of leaves, flowers, and shapes woven together in precise repetitive patterns. In woodcarving,
the Maranao okir features the sarimanok, the colorful legendary fowl shown holding a fish with its beak or talons. Other
motifs include the naga, and pako-rabong, consisting of plant forms, such as the dapal or raon (leaf), pako (fern spiral),
todi (katuray flower), and potiok (bud). Buildings and houses also take many forms and shapes, from the geometric
upward orientation of skyscrapers to the squat low forms of the nipa hut or bahay kubo. There are unusual shapes, as
well such as the domed Church of the Holy Sacrifice in UP Campus and the glass and steel structure of the School of
Design and Art building of the De La Salle College of St. Benilde in Vito Cruz, Manila. Paintings in the Cubist style have
intersecting and overlapping shapes, some flat and in the case of collage, jutting out of the picture plane. The Stations of
the Cross by National Artist Vicente Manansala at the UP Church of the Holy Sacrifice feature transparent planes, a style
associated with the artist. Other painters are expressionist in their treatment of figure. Ang Kiukok’s works are examples
of expressive use of shapes in the context of struggle against poverty and other social issues. Other painters choose to
not use figures at all. National Artist Arturo Luz, whose early works were figurative, became later known for non-figurative
works featuring hard-edged geometric shapes with sharp precision. This was also the case for National Artist HR
Ocampo, who rendered free and organic colorful shapes across his canvases in his later period. Most painters however,
strive to give illusions of threedimensionality in their paintings, making them appear as if the figures have volume, and
spaces possessing depth and distance. Described as photographically realistic, paintings by Alfredo Esquillo and Antipas
Delotavo create such illusions through skillful modeling, contouring, and deft use of light andPAGE
shadow.
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F. Composition in space involves the relationship between figures and elements. It also refers to how these
elements are organized and composed according to principles of organization, among them balance, proportion, rhythm,
unity in variety, dominance and subordination. National Artist Guillermo Tolentino’s Bonifacio Monument, 1933 in
Caloocan has a circular composition, fitted for its position at the center of a busy rotonda where principal streets
converge. On the other hand, another sculpture by the artist, the Oblation,bronze cast, 1958 is located at the end of a
long University Avenue, the entrance to the University of the Philippines Diliman campus, as we learned in the discussion
on line above. Quezon Hall has a “twin” building across a woody area—the UP Diliman Main Library. Not far from that
building is the Palma Hall, which sits across its own twin—Melchor Hall. Another set of twins are the Education building
and Law Building, which face each other along the Academic Oval. Such composition follows the “town and gown”
planning of American universities, which are also founded on principles of symmetry and balance that govern Neoclassic
town planning. In the Historical Overview in Unit 1, we learned about the plaza complex introduced by Spanish
colonization and American city planning during the American colonial period. In Spanish town planning, the church or
cathedral dominates the plaza complex, along with the municipio or municipal hall, and the houses of the elite called
bahay na bato. While Spanish town planning centered on religion, and is based on the principle of enclosure, American
colonial city planning was thoroughly secular, fan-shaped instead of rectangular, was open and conducive to social
exchange. Designed by urban planner Daniel Burnham, the Burnham Plan of Manila gives importance to parks, open
spaces, and landscaping. Burnham’s plan of Manila departs from Spanish walled city planning, exemplified by
Intramuros. Yet, for all its merits, the Burnham plan failed to foresee the need for mass housing, and more efficient public
transport for the burgeoning working class who arrive en masse from the rural areas. Composition in space can also be
discerned in dance. The soaring movements of classical ballet defy gravity, while the earth-bound staccatto and
sculptural poses, and flowing, fluid hand and feet gestures of dances like the pangalay in Mindanao harmonize with the
rhythms of nature. Likewise, in architecture, the massive cantilevered block of the Cultural Center of the Philippines
dominates and overwhelms the human scale and juts out of the reclaimed land on which it stands. This is very much in
keeping with its function as a “shrine” of High Art, as discussed in Lesson 2. In contrast, the bahay kubo of the lowlands
and the traditional houses of the Cordillera in the North derive their materials from the immediate surroundings. The
Northern houses are compact and adjust to the mountainous terrain, built to withstand cold and rain. The bahay kubo on
stilts is shaped to withstand flood and to let air and light circulate, especially in dry and hot weather in the lowlands. The
native dwellings’ harmony with human scale is seen in the way houses are built to correspond with the human body. The
Tausugs build their posts according to a strict sequence corresponding to the order of the body parts. In their system of
belief, the different posts of the house represent the various parts of the body, the head, the shoulders, the limbs, with the
navel-post taking central position. Likewise, in other Asian societies, the central post of the house is the vertical axis
which links the three levels of being—the underworld, the world of people, and the world of heavenly spirits.
Folk beliefs also surround the timing of the seasons. The best time for building a house coincides with the tides of
the moon, or the position of the mythical sky serpent called the bakunawa; for laying the house post and the shape of the
house (it should not be shaped like a coffin for example); conventions also figure in deciding the direction of the stairway,
and the number of steps; the slope of the roof; the laying out of floor planks; the alignment of the openings; and the best
time for moving into a new house.
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G. Movement may occur in two-dimensional design as rhythm or through the recurrence of motifs, their alternation or
progression unfolding in a series. Movement is also very much related to line, and the direction of the eye. Carlos
Francisco’s mural, Filipino Struggles through History, 1964, which was once hung at the Bulwagang Katipunan of the
Manila City Hall shows a sense of forward movement that captures the fervor and energy of the Revolution. In three-
dimensional expressions, the sense of movement can be implied—such as in the creative activities of National Artist
Napoleon Abueva’s Nine Muses, 1994 adorning the Faculty Center building at UP Diliman; or actual—such as that of
David Cortez Medalla’s biokinetic constructions from the sixties (the bubble machine series that spew quantities of foam
and a monumental sand machine). As discussed above, dance creates compositions in space through movement. While
Western dances like the classical ballet strives toward lightness, traditional Asian dances are in continuous contact with
the ground, from which they derive their energy. Hand gestures suggest unending natural phenomena—the flutter of
wings, the blooming of flowers, the swaying of palm leaves. Some dances, like those from Sulu in Mindanao, are linear
and asymmetrical, punctuated by sculptural or static positions. Traditional Asian dances, as we learned in the previous
lessons, are also largely ceremonial and cannot be separated from other artforms such as textile, sculpture, and music.
Movement in cinema partakes of the movements of the camera: it pans to survey a scene, scans the height of a building,
and dwells on the contents of a room. It is tracked when it follows a figure or an
object such as a locomotive. It zooms when the camera makes a sudden movement, or zeroes in on a particular figure or
object such as someone who is eavesdropping behind a door, or a clue that is unintentionally dropped on the floor. A
camera may be shaky and handheld, usually used in indie movies, or can take on the motion of a car, a train, or a bullet,
thus conveying subjective moods, atmospheres, and states in flux. Another set of movements comes from film editing in
which the shot, the basic unit, is arranged along with other shots into a meaningful unit. The result is a narrative flow that
can be linear, arranged with flashbacks, back and forth, fragmented or episodic, slow, fast-paced,monotonous, fl at and
so on. Each scene can dissolve into each other, fade out, or are interwoven with narration, sound, dialogue, eff ects,
which may or may not sync. The camera can linger on a particular scene, object or room, or it can cut to diff erent scenes
in rapid succession, such as the montage of the execution scene (at the embassy, in San Pablo, or in Changi prison,
etcetera) in the Flor Contemplacion, 1995 fi lm by Joel Lamangan. Less traditional camera work is seen in the long
takes of Lav Diaz, who is known for “defying fi lm conventions with the length of his critically-acclaimed fi lms,” according
to Hernandez. Ebolusyon ng Isang Pamilyang Pilipino (2004) is almost eleven hours long; Heremias: Unang Aklat-Ang
alamat ng prinsesang bayawak (2006), nine hours and the documentary Death in the Land of Encantos (Ka-gadanan sa
Banwaan ning mga Engkanto (2007), almost ten hours. Another example is the long take in Jon Red’s fi rst full length
feature fi lm Still Lives (1999) where the camera never moved throughout the fi lm. Diaz and Red are examples of “indie”
or independent fi lmmakers; they produce their own fi lms with little, if at all, funding from mainstream studios. According
to Hernandez, such self-productions are made possible with the advent of digital technology. The shift from celluloid to
digital made fi lmmaking more fl exible and requires minimal budget. With a camcorder, or a tablet or even a cellphone,
one can be director, screenplay writer, cinematographer and actor all rolled into one. And with the aid of a computer, one
can record, edit, engineer sound, among other post-production work, in our own homes.
Reference : Datuin, F. ;Paulino, R.;Legaspi - Ramirez, E. & Marcelino L. (2016).Contemporary Philippine Arts From the
Regions. Rex Book Store.

Week 5 Activity
Written Work no. 5
Direction: In connection to the lecture - module, complete the information that is needed using the graphic organizer.
Elements of arts What is the meaning of the Explain your own What are the given Give your own example
elements of art based on the understanding based on example of the elements of based on the topic that you
lecture? the topic that you already art based on the lecture? already read
read
1. Line In the visual arts, it also With the presence of Lines can be thin, Lines could also be
refers to the quality of line, art is brought to straight, broken, thick, very present in
the line, whether thin, life. They are the and diagonal. It could common paintings
broken, thick, or needed elements to be rough or fine. In such as the famous
blended, among others. produce shapes and particular, diagonal Starry Starry Night
They create texture images that constitute lines are commonly Painting of van Gogh
together. to the creation of art seen in architecture which featured many
itself. such as in the UP broken lines.
Diliman waiting
sheds.
2. Color Color is related with our Color brings life to the Amorsolo’s use of Van Gogh’s painting
encounters of cold and art and to our world, color in his portraits is called “irises” uses the
warmth, and the nature in general. It could representational, color indigo in a very
of light in our exude feelings from hewing as closely as prominent way that it
environment, the us and inspires us to possible to skin tone really gives a realistic
patterns of night and see things in a way and color of dress take on the flower.
day, of murkiness and that they are far from and surroundings. His
light. being plain. landscapes are said
to capture the colors
of the earth, sky and
sea, and that of the
Philippine sunlight.
3. Value Value alludes to degrees Values could refer to Value could be useful Value can be seen in
of tone from light to dim, the shading of an art, in black and white most portrait images
which can be a part of the emphasis of the photography as it made by pencils and
shading as examined light and dark parts helps in producing charcoal. Since these
above, yet could likewise within an image that depth and uses black and white
explicitly allude to the contributes to the perspective. only, the shading
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play of light on an item overall realistic quality very essential.
or a scene. of the piece.
4. Texture Texture alludes to how Texture could mean For example, Imelda Van Gogh’s Starry
items and surfaces feel, the roughness and Cajipe-Endaya Starry Night also
and is most connected softness of a certain integrates sawali exuded a rough

with the feeling of touch piece. This does not panes, crocheted texture through the
or physicality. Textures need to be physically lace, fabrics and rope use of broken lines.
are made, as recently felt, and the to make more
examined, when a few techniques of the concrete and more
lines consolidate artist could produce immediate allusion to
texture visible to the her stance about
eyes. societal discussions.
4. 5. Shape Shape alludes to Shapes constitute the The geometric Architecture is made
structures that are two- overall figure of an shapes of the binakol possible by the
dimensional or three- image in art. It makes by the Tinggians of element of shape.
dimensional. the existence of Abra, Northern Without it, the three-
images possible and Philippines are dimensional figure of
gives a more realistic executed with such every single building
value to artworks. mathematical we see would not
precision they exist.
achieve an
illusionistic effect.
5. 6. Composition in space Composition in space National Artist The Tondo circular art
Composition in space
includes the connection refers to the overall Guillermo Tolentino’s is a solid depiction of
among figures and type of coordination Bonifacio Monument, an artwork of circular
components. It likewise among the various 1933 in Caloocan has composition.
alludes to how these elements. a circular
components are composition, fitted for
coordinated and made its position at the
by standards out of center of a busy
association, among rotonda where
them balance, extent, principal streets
mood, solidarity in converge
assortment, strength and
subjection.
7. Movement Movement may happen Movement could Carlos Francisco’s Juan Luna’s
in two-dimensional plan mean the actions in a mural, Filipino Spoliarium depicts the
as cadence or through certain art piece. This Struggles through movement of people
the repeat of themes, could refer to the History, 1964, which in such a sad scene of
their rotation or movements of the was once hung at the slavery and violence.
movement unfurling in subjects, the Bulwagang Katipunan
an arrangement. characters, or the of the Manila City Hall
elements themselves. shows a sense of

forward movement
that captures the
fervor and energy of
the Revolution
Performance no. 5
Evaluate one contemporary art form by means of graphic organizer that you research based on the option that is given
below:
A. Monument in your town ( you could ask to take pictures by means of your parents or older brother or sister that
could go outside).
B. Handicraft or other product in your town that could be a possible example of art form.
Art Form Elements of arts based on the Name of Art Form:
observed art form
______________________
1. Line The white pillars at the back of the statue are stood straight but aligned in a
curve.
(Description of the appearance of
chosen art form)
2. Color White is the main color of the art work which helps attract people to the main
focus of the artwork which is the statue that helps bring the art work all
together.
chosen art form)
3. Value It would depends on where the source of light would be placed at if behind the
pillars it would make the front of the statue dim
chosen art form)
4. Texture The marble in the artwork would be smooth while the statue made out of the
bronze would feel rough and bumpy.
chosen art form)
5. Shape The primary shapes of the artwork are rectangles and semi-circle

chosen art form)
6. Composition in space The pillars are evenly placed and the stature is stood perfectly in the middle.

chosen art form)
7. Movement The artwork depicts the honor and celebration of the late president Manuel L.
Quezon 77th birth anniversary.
(Description of a particular historical
background how it is form) PAGE \* MERGEFORMAT 1
Contemporary Philippine Arts From The Regions

Week 6 - The Contemporary in Traditional Art:Gawad sa Manlilikha ng Bayan (GAMABA)
MELCS: Compare forms of art from different region.

FAQ How does tradition become contemporary, and the contemporary traditional?
Teofi lo Garcia, a 2012 awardee is a farmer in the town of San Quintin, a municipality in Abra Province, better known for
tending a plot of land fi lled with enlarged upo or gourd. After planting the upo in November and harvesting the mature
fruit during the summer months of March to May, Garcia would transform the harvest into durable hats protecting people,
especially farmers exposed for long hours under the heat of the sun. Each upo or tabungaw (in Ilokano) is hollowed out,
polished, and varnished, which gives the tabungaw hat a distinctive yellow sheen. The varnish also strengthens the
organic material to make it weather resistant. Thin strips of rattan or uway are woven to line the hat, while another type of
intricate weave, usually made of fern or nito, is placed on the mouth of the hat as decoration. Simple hand tools are used
to gouge the insides of the tabungaw. Garcia was instrumental in fortifying the tradition through six decades worth of
persistent practice. His artistic rendering of a functional object, dedication to craft, and commitment to the community
make him a bearer of culture. In recent years, he initiated training for students at San Quintin National High School to
pass the knowledge of tabungaw hat making, inspiring the youth to value the tradition and to ensure its upkeep. We
learned in the Lesson 1 that the distinction between modern and contemporary art is a historical, cultural, and stylistic
one. From the example of Teofilo Garcia, we reiterate that Philippine traditional art, though based on long-standing,
established practices, has always been contemporary in a sense that it is art that is being made now, and that it persists
as part of a continuing performance of tradition. Although traditional artists do not consider their work as a contemporary
art form, its similarities to contemporary art practices can be discerned. The process of making the tabungaw hats for
example, involves the interface of local scientific knowledge and art. Prior to crafting the hat, the growth of enlarged
tabungaw is made possible through techniques that manage the interplay of seed, earth, and forces of nature within a
particular duration.
FAQ What is the GAMABA?
Garcia has been named Manlilikha ng 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.
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 will be discussed in Lesson 5. 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. A distinct feature of the GAMABA is its emphasis on the intangible and communal
aspects of art production, which as pointed out in Lesson 1, are closely aligned with the process-based and collaborative
inclination of some contemporary art practices. Traditional art finds deep affinities with nature, place, society, ritual and
spirituality, and everyday life. In traditional integrative art, forms and expressions do not normally end up as objects
distanced from everyday living. The site of dissemination and knowledge transfer is neither in the formal spaces of a
museum nor a theater. The process of creation is usually shared among members of the PAGE \* MERGEFORMAT
community, 1 to
and appeals
broader aspects of life. Things produced such as textiles, hats, baskets, or utensils are commonplace, usually found and
used in people’s homes. Songs and dances are performed as a group as part of ritual and as a way of affirming one’s
cultural identity or sense of belonging.


The Production Process and The Changing Environment
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 are transformed into mass produced souvenirs in order
to meet the demands of the tourist trade. Neon colors and designs woven from synthetic fibers have been made available
in recent years to create appropriations of traditional textile designs for commercial purposes.
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 knowledgePAGE \*can
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take place. 1
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 syncretize their indigenous ways with traditions of Christianity. The Manobo community of Mt.
Apo, for example initiated a “culture regeneration movement.” As Christian converts, they sought the revival of their
traditions by holding clan reunions, employing native wedding rites, and recalling narratives of their culture through
painting.
5.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 signifi cant and diffi cult 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 defi nitions of the art forms and the processes.
Reference : Datuin, F. ;Paulino, R.;Legaspi - Ramirez, E. & Marcelino L. (2016).Contemporary Philippine Arts From the
Regions. Rex Book Store.
Week 6 Activity
Written Work no. 6
Answer the following question in your own paper.

1. - The actual substance of GAMABA is to perceive the elusive social legacy of the purported "Manlilikha ng
Bayan", to offer honor to their imaginative greatness, express pride to their commitments in expressions and to
save these and proceed to practice and pass their abilities to the future. These artists feature the needed
connection between art and culture and heritage, ensuring that the artworks of today still give honor to the
remnants of the past. I think having two national awards for the arts does not underscore the divide between
individualist expression and community-based rituals as they are both made to honor arts, regardless of the
influence behind these works. Art made by an individual and art made by the entire community contributions still
boil down to being art that features our history and present, as well as our future.
2. Form Examples of Appropriation
Oral Literature Painting a. his paintings as a documentation of
the ten epics, that allowed the surge of
interests from curious audiences.
b. his paintings as a mode to PAGE \* MERGEFORMAT 1
understand more about the ancient
Filipino lifestyle, showcasing the lives of
our ancestors through the epics.
c. his paintings as a way to promote our

culture and folktales through providing a
depiction
Contact No.: (042) 373-7369 (Principal’s Office); (042) 373-7662 (Department of these
Head’s Office) colorful oral literature.
Performance no. 6
Name on traditional art form in your community. Create a poster to promote it.
Basis on Scoring Poster:

Creativity - 5
Presentation -5
Content - 25
35pts


Madamba, Febbie Mia E. 12 Humss-B - Act. 5, 6

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Republic of the Philippines

Contemporary Philippine Arts From The Regions

Quezon National High School

Quezon National High School

Quezon National High School

and is most connected softness of a certain integrates sawali exuded a rough

elements themselves. shows a sense of

(Description of the appearance of

(Description of the appearance of

Contemporary Philippine Arts From The Regions

MELCS: Compare forms of art from different region.

FAQ What is the GAMABA?

Quezon National High School

Quezon National High School

The Production Process and The Changing Environment

Quezon National High School

Effect of the GAMABA in the communities

Quezon National High School

Quezon National High School

Basis on Scoring Poster:

Quezon National High School

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