Saint Mary’s University

Bayombong, Nueva Vizcaya

SCHOOL OF TEACHER EDUCATION & HUMANITIES
Department 0f Social Science and Philosophy

NOTES in ARTS APPRECIATION

ASIAN ARTS:
A. JAPANESE ARTS

■ Japanese Art- covers a wide range of art styles and media, including ancient pottery,
sculpture, architecture, ink painting and calligraphy on silk and paper, ukiyo-e paintings and
woodblock prints, ceramics, origami, bronzes, jade carving, and other fine or decorative visual
arts produced in Japan over the centuries and more recently manga which is modern
Japanese cartoons and comics along with a myriad of other types. Most popular art in Japan:
From the art of ikebana to the graceful tea ceremony.

■ Kagedo specializes in fine Japanese art with a focus on modernism from the 19th through the
20th century. Famous traditional Japanese painting styles are “Kanou-style”, “Enzan-Shijou-
style”, and “Yamatoe-style”. In the longtime development of Japanese painting, Chinese
culture and practices had been influencing a lot, such as Buddhist religious painting, ink-wash
painting of landscape, and calligraphy of ideographs. The beauty of nature and simplicity are
two common themes in drama and literature. These were seen in Japan's art forms. Paper, ink,
and brushes were used to show beauty, just like in China. This art of fine, intricate writing is
called calligraphy, where there is a brushstroke order for each character.

Traditional Japanese Art Forms

1. Shodo (Calligraphy) - Calligraphy- is one of the most admired Japanese arts. It is and art of
fine handwriting or described as decorative hand writing.
2. Ikebana (Flower Arranging) - the art of Japanese flower arrangement, with formal display
according to strict rules. Ikebana (生け花, 活け花. "arranging flowers" or "making flowers
alive") is the Japanese art of flower arrangement. It is also known as Kadō (華道, "way of
flowers"). The tradition dates back to Heian period when floral offerings were made at altars.
Later, they were placed in the tokonoma (alcove) of a home. Ikebana reached its first zenith in
the 16th century under the influence of Buddhist tea masters and has grown over the
centuries, with over 1,000 different schools in Japan and abroad. Kadō is counted as one of
the three classical Japanese arts of refinement, along with kōdō for incense appreciation and
chadō for tea and the tea ceremony.
3. Ukiyo-e (Woodblock Prints) - "Japanese art prints, or Ukiyo-e (which literally means “pictures
of the floating world”) have become an increasingly popular art form in the Western world. Their
upward, floating imagery sprang from the Buddhist ideology that joy is transient and that only
detachment from desire will bring true enlightenment". Ukiyo-e was developed by the Japanese.
This is a kind of painting crafted through woodcut prints. The artist developed a technique that
used lines and colors in a very distinct manner. An example would be the woodcuts of Hiroshige
and Sharuku who had a lasting impact on Western artists like Vincent van Gogh and Edouard
Manet.
4. Shikki (Lacquerware) – was popularized during the Edo period (1615–1868). Late 18th–early
19th century, one of Japan’s cultural practices is the making of lacquerwares. Medium:
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 Lacquered wood with gold and silver hiramaki-e. Kanazawa was once the center of culture
when it was the Kaga domain during the Edo period, so many traditional handicrafts are made
in Kanazawa. The lineup runs from classic items to modern.
5. Tea Ceremony- Encounter the world of tea in a quaint tearoom located near the famous
Kabukiza in Ginza. With a friendly English-speaking tea master, learn more about the ceremony
with delicious tea and sweets. Japanese tea ceremony centers on the preparation, serving and
drinking of matcha. Discover the culture and traditions of an authentic Japanese tea ceremony
in the spirit of Kyoto's Zen gardens.
6. Traditional Japan Dress: Kimono - is a traditional Japanese dress, worn by men, women and
kids. The literal translation of the word is "something to wear" (Ki = wear) Kimono Tea Ceremony
Samurai Ninja in Kyoto and Osaka, Cultural experiences in Japan.
7. Japan Dance Art - The Kamogawa Odori consists of two stages. In the first stage, the play and
dance are performed and in the second, a lively group dance. Before the show, the audience
can enjoy tea made by a geiko. Japanese Traditional Dance: There are two types of Japanese
traditional dance: Odori, which originated in the Edo period, and Mai.
8. Kōdō (Incense Appreciation) - As in the tea ceremony, practitioners of kodo will gather in a
room, in a private house or in a temple, with a floor covered with tatami mats. Learning the
process of preparing the Kiki Gouro (Incense Cup) called "Preparing the Ash" required to present
the incense for the Kumiko (Incense Games).
9. Origami (折り紙) –This is derived from ori meaning "folding", and kami meaning "paper" (kami
changes to gami due to rendaku) is the art of paper folding, which is often associated with
Japanese culture. In modern usage, the word "origami" is used as an inclusive term for all folding
practices, regardless of their culture of origin. The goal is to transform a flat square sheet of
paper into a finished sculpture through folding and sculpting techniques. Modern origami
practitioners generally discourage the use of cuts, glue, or markings on the paper. Origami
folders often use the Japanese word kirigami to refer to designs which use cuts, although cutting
is more characteristic of Chinese paper crafts.
10. In Japanese, "manga" refers to all kinds of cartooning, comics, and animation. Among English
speakers, "manga" has the stricter meaning of "Japanese comics", in parallel to the usage of
"anime" in and outside Japan. The term "ani-manga" is used to describe comics produced from
animation cels.

B. INDIAN ARTS

◼ Ancient Indian folk painting and art styles have been passed down from generation to
generation, and are still practiced in different parts of India. Being culturally diverse and distinct,
a variety of art forms have evolved over the years; some are untouched by modernization, some
are adapting to new paint colors and materials. Each depict religious epics or gods and
goddesses mostly, but they’re all unique, admirable and inimitable in their own might. In the days
of yore, they were made with natural dyes and colors made of soil, mud, leaves and charcoal,
on canvas or cloth – giving it a sense of antiquity, vintage nostalgia.
◼ Indian subcontinent is famous for being the home country of a large number of exceptionally
brilliant artists, including painters, writers, singers, etc. The art of painting in India dates back to
the ancient times, as evident by the cave paintings of Ajanta and Ellora.

INDIAN PAINTERS: Many Indian painters have received global recognition and their paintings have
fetched millions of dollars in international auctions. Paintings revolve around religious topics to the
abstract ones; Indian painters have covered almost each and every arena.

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INDIAN PAINTINGS: The tradition of painting has been carried on in the Indian subcontinent since
the ancient times. Standing as a testimony to this fact are the exquisite murals of Ajanta and Ellora,
Buddhist palm leaf manuscripts, Mughal and Kangra schools of miniature Indian paintings, etc.
Records have been found that indicate the usage of paintings for decorating the doorways, guest
rooms, etc. Some traditional Indian paintings, like those of Ajanta, Bagh and Sittanavasal, depict a
love for nature and its forces.

INDIAN ART: Indian subcontinent has always been the reservoir of talent, be it in the field of art,
science, literature, or any other field. But, special emphasis should be given to the famous Indian
art and its various forms. The art work of this country, be it paintings or sculptures or even traditional
arts like Rangoli, has always gathered appreciation from people residing in almost all the parts of
the world.

RANGOLI: Rangoli, one of the most beautiful and most pleasing art forms of India, is comprised of
two words, 'rang' meaning 'color' and 'aavalli' meaning colored creepers' or 'row of colors'. Rangoli
basically comprises of the art of making designs or patterns on the walls or the floor of the house,
using finely ground white powder along with different colors. Numerous households in the Indian
subcontinent make use of Rangoli designs for decorating the courtyard of their house.

10 Folk Painting forms still practiced in select parts of India today:

1. Madhubani – is also called Mithila art, it originated in the kingdom of Janak (Sita’s father in
Ramayana) in Nepal and in present-day Bihar. It is one of the most popular Indian folk arts,
practiced mostly by women who wanted to be one with God. Characterized by geometric
patterns, this art form wasn’t known to the outside world until the British discovered it after
an earthquake in 1930’s revealed broken houses with Madhubani paintings. It mirrored the
work of Picasso and Miro, according to William G. Archer. Most of these paintings or wall
murals depict gods, flora and fauna.
2. Miniature Paintings - These paintings are characterized by its miniature size but intricate
details and acute expressions. Originating in the Mughal era, around 16th century, Miniature
paintings are influenced by Persian styles, and flourished under Shah Jahan and Akbar’s
rule. Later, it was adopted by Rajputs, and is now popularly practiced in Rajasthan. Other
art forms of paintings depict religious symbols and epics. These paintings stand out as
humans are portrayed with large eyes, a pointed nose and a slim waist, and men are always
seen with a turban.
3. Phad - Originating in Rajasthan, Phad is mainly a religious form of scroll painting depicting
folk deities Pabuji or Devnarayan. The 30- or 15 feet-long canvas or cloth that it is painted
on is called phad. Vegetable colors and a running narrative of the lives and heroic deeds of
deities characterize these paintings.
4. Warli - Originated by the Warli tribes from the Western Ghat of India, in 2500 BCE, this is
easily one of the oldest art forms of India. It is mainly the use of circles, triangles and squares
to form numerous shapes and depict daily life activities like fishing, hunting, festivals, dance
and more. What sets it apart is the human shape: a circle and two triangles. All the paintings
are done on a red ochre or dark background, while the shapes are white in color.
5. Gond - Characterized by a sense of belonging with nature, the Gondi tribe in Madhya
Pradesh created these bold, vibrantly colored paintings, depicting mainly flora and fauna.
The colors come from charcoal, cow dung, leaves and colored soil. If you look closely, it is
made up of dots and lines
6. Kalamkari - Literally meaning ‘drawings with a pen’, Kalamkari is of two types in India:
Machilipatnam, which originates from Machilipatnam in Andhra Pradesh and Srikalahasti,
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 which originates from Chitoor in the same state. While the former refers to block-printed form
of art, the latter is a free flowing art with a pen on fabric. Today, Kalamkari art is used on
sarees and ethnic clothing, and depicts anything from flora and fauna to epics such as
Mahabharata or Ramayana.
7. Tanjore - From down South, Tanjore or Thanjavur paintings originated in 1600 AD,
encouraged by the Nayakas of Thanjavur. You can recognise a Thanjavur painting by its use
of gold foil, which glitters and lends the painting a surreal look. These panel paintings on
wooden planks depict devotion to gods, goddesses and saints. It borrows its styles from
Maratha and Deccani art, as well as European styles.
8. Cheriyal Scrolls - Originating in present-day Telangana, this dying art form is practiced by
the Nakashi family only, where it has been passed down for many generations. The tradition
of long scrolls and Kalamkari art influenced the Cheriyal scrolls, a much more stylized version
of Nakashi art.
9. Kalighat Paintings - A recently discovered painting style, it originated in the 19th century
Bengal, from Kalighat. It was the time when upheaval against the British was a possible,
exciting idea. These paintings, on cloth and pattas, at first depicted Gods and Goddesses,
but then took a turn towards social reform.
10. Patachitra - A cloth-based scroll painting from Odisha and West Bengal, these paintings
with sharp, angular bold lines depict epics, Gods and Goddesses. Originating from the fifth
century in religious hubs like Puri and Konark, around the same time that sculpturing began,
considering there was no known distinction between an artist and sculptor back then. What’s
unique about this art form is that the dress style depicted in the paintings have heavy
influence of the Mughal era.

C. CHINESE ARTS:

Chinese Art – is a visual art whether ancient or modern. It is originated in or is practiced in

China or by Chinese artists. The Chinese art in the Republic of China (Taiwan) and of overseas
Chinese can also be considered part of Chinese art where it is based in or draws on Chinese
heritage and Chinese culture. Early "stone age art" dates back to 10,000 BCE, mostly
consisting of simple pottery and sculptures. After this period, Chinese art, (Chinese history),
was typically classified by the succession of ruling dynasties of Chinese emperors, most of which
lasted several hundred years. Chinese art has arguably the oldest continuous tradition in the
world, and is marked by an unusual degree of continuity within, and consciousness of, that
tradition, lacking an equivalent to the Western collapse and gradual recovery of classical styles.
Media classified by the West since the Renaissance are:

➢ Decorative art - produced in large workshops and in the Imperial factories. These were
distributed to local producers and abroad purposely to showcase wealth and power of Emperors.
e. g. Chinese porcelain, ceramics, textiles.
➢ Traditional Ink wash painting - were practiced mainly by scholar-officials and court painters
especially of landscapes, flowers, and birds.
➢ Aesthetic values were developed depending on the artist’s imagination and objective
observation similar to the West.
➢ From the 19th Century to the present China has participated with increasing success in worldwide
Contemporary Art.

➢ Materials and Techniques: Chinese art form achieved worldwide admiration, inspired such
imitation, or has penetrated so deeply into everyday life such as porcelain. In China, primitive
porcelain emerged during the Tang Dynasty (618-907), and mature forms developed in the Song
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 Dynasty (960-1279). Like stoneware, porcelain objects are subject to fire in a kiln at extremely
high temperature (2,000°F) until the clay fully fuses into a dense, hard substance resembling
stone or glass. True porcelain is translucent and rings when struck. Its rich, shiny surface
resembles jade, a luxurious natural material. This was much treasured by the Chinese since the
early times.
➢ Chinese ceramists often decorate porcelains with colored designs or pictures, working with
finely ground minerals suspended in water and a binding agent (e.g. glue). The minerals change
color dramatically in the kiln. The painters apply some mineral colors to the clay surface before
the main heating then apply a clear glaze over them. The most stable and widely used coloring
agents for porcelain are cobalt compounds which emerged from kiln as an intense blue.
➢ Ceramists rarely use copper compounds to produce stunning red by manipulating the kiln’s
temperature and oxygen content. Enamels also use ceramic painters a much brighter palette
ranging colors from deep brown to brilliant red and green but do not have durability of the
underglaze decoration.
➢ Other ART FORMS:

1. JINGDEZHEN Porcelain - Two temple vases from the Jingdezhen kilns during the Ming
Dynasty became the official source of porcelains for the court. It is one of nearly identical
paired dated inscription to 1351: The inscription says: “the vases together with incense
burner was made up of an altar set donated to a Buddhist temple as a prayer for peace,
protection and prosperity of the donor’s family.” The vase is one of the earliest dated
examples of fine porcelain with cobalt-blue underglaze decoration. The painted decoration
consists of bands of floral motifs between broader zones containing auspicious symbols.
Phoenixes in the lower part of the neck and dragons on the main body of the vessels both
among clouds. The motifs may suggest the donor’s high status or invoke prosperity
blessings. Because of their vast power and associations with nobility and prosperity, the
dragon and phoenix also symbolize the emperor and empress and the objects were made
for imperial household. Dragon (yang) and phoenixes (yin) are the major painted motifs
symbolizing active masculine energy and the principle of passive feminine energy
respectively.
2. THE FORBIDDEN CITY – Under Emperor Hongwu (r. 1368-1398) during the Ming Dynasty,
Although Beijing had been home to the Yuan Dynasty, Ming architects designed much of the
city as well as the imperial palace at its core. The layout of the Forbidden City has provided
the perfect setting for the elaborate ritual of the imperial court.
3. SUZHUO GARDENS - Several Ming Gardens at Suzhou have been meticulously restored
including the huge Wangshi Yuan (Garden of the Master of the Fishing Nets) which is almost
54,000 square feet. Ming gardens are arrangement of natural and artificial elements intended
to reproduce the irregularities of nature. This approach to design is opposite of the formality
and axiality of the Ming Palace
4. LACQUERED WOOD - From ancient times, the Chinese used lacquer to cover wood.
Lacquer is produced from the sap of Asiatic sumac tree, native to central and southern China.
When it dries, it cures to great hardness and prevents the wood from decaying. Often colored
with mineral pigments, lacquered objects have lustrous surface that transforms the
appearance of natural wood. The earliest example has survived for several years to the
Eastern Zhou period (770-256 BCE).

D. PHILIPPINE ARTS: OKIR or OKKIL - Maranao’s Art design

Okir or okkil is the term for geometric and flowing designs (often based on an elaborate
leaf and vine pattern) and folk motifs that can be usually found in Maranao and Muslim-
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 influenced artwork, especially in the southern Philippines, and in some parts of Southeast
Asia. Okir a datu refers to the ornamental design for men and okir a bay to that for women.
In the Philippines, an ancient proof of okir's style of flowering symbols is the torogan, the
ancestral home of the highest titleholder in a Maranao village.
Torogan house is a symbol of power and prestige usually adorned during festivities. Its
prominent part is the panolong, a carved beam that protrudes in the front of the house
and styled with okir motif. Panolong is a gorgeously carved extension of the floor beam
done in bas relief. It is customarily shaped into a wing of a mythical bird or the mouth of
a crocodile.
The okir design is found woven or printed in textiles, carved into wooden cemetery
markers and wooden boxes, and it can also be found etched into knife or sword blades
and handles, and cast or etched into various brass and silver objects. Other variations of
the okir involves the use of nāga or serpent motif. Maranao instruments usually are styled
with okir. A more prominent variation is the sarimanok, a chicken-like figure that carries a
fish in its beak. Okir is said to be firstly made in Tugaya, Lanao del Sur, as Tugaya is
known as the home of Maranao artisans and the Industrial capital of Lanao del Sur.
Tugaya has been long known as the home of arts and crafts of Maranao tribe since time
immemorial.
The National Museum has declared the Maranao torogan, specifically the Kawayan
torogan as National Cultural Treasure through Museum Declaration No. 4-2008,
announces Museum Director Corazon S. Alvina. The National Museum is the agency of
government that is tasked to declare national cultural treasures by virtue of Presidential
Decree No. 374, which amends certain sections of R.A. 4846, otherwise known as “The
Cultural Properties Preservation and Protection Act”. National Cultural Treasures are
defined as “unique objects found locally, possessing outstanding historical, cultural,
artistic and/or of scientific value, which is significant and important to the country.”
GAMABA - Gawad Manlilikha ng Bayan (The National Living Artists)
In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award
was institutionalized through Republic Act No. 7355. Tasked with the administration and
implementation of the Award is the National Commission for Culture and the Arts (NCCA),
the highest policy-making and coordinating body for culture and the arts of the State.

The NCCA, through the GAMABA Committee and an Ad Hoc Panel of Experts, conducts
the search for the finest traditional artists of the land, adopts a program that will ensure the
transfer of their skills to others and undertakes measures to promote a genuine
appreciation of and instill pride among our people about the genius of the Manlilikha ng
Bayan.

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.

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 RA 7355: is an act providing for the recognition of National Living Treasures, otherwise
known as the Manlilikha ng Bayan, and the promotion and development of traditional folk
arts, providing funds therefor, and for other purposes.
RA 7356: is an act creating the National Commission for Culture and the Arts, establishing
national endowment fund for culture and the arts, and for other purposes

1. GINAW BILOG (+ 2003), Poet of Hanunuo Mangyan from Panaytayan, Oriental Mindoro
1993.
He was expert of the rich Mangyan literary tradition of ambahan. The most treasured of
his collection are those inherited from his father and grandfather and became the
source of inspiration and guidance for his creative endeavors.
Ginaw shares old and new ambahans with his fellow Mangyans and promotes this
poetic form in every occasion. Through the dedication of Ginaw, the ambahan poetry
and other traditional art forms from our indigenous peoples will continue to live.
The nation is justifiably proud of Ginaw Bilog for vigorously promoting the elegantly
poetic art of the surat Mangyan and the ambahan. (Prof. Felipe M. de Leon, Jr.)

2. MASINO INTARAY (+ 2013) Musician and Storyteller, Pala’wan Brookes Point, Palawan,
1993.
Masino is an outstanding master of the basal, kulilal and bagit. He was a gifted poet,
bard artist, and musician.
Masino is not only well-versed in the instruments and traditions of the basal, kulilal and
bagit but also plays the adoring (mouth harp) and babarak (ring flute). He is a prolific
and pre-eminent epic chanter and story teller.
He has the creative memory, endurance, clarity of intellect and spiritual purpose that
enables him to chant all through the night, for successive nights, countless tultul (epics),
sudsungit (narratives), and tuturan (myths of origin and teachings of ancestors). Masino
together with the basal and kulilal ensemble of Makagwa valley are creative, traditional
artists in the highest order of merit. (Prof. Felipe M. de Leon, Jr.)

3. SAMAON SULAIMAN (+ 2011) Musician Magindanao, Mamasapano, Maguindanao

1993
Samaon Sulaiman achieved the highest level of excellence in the art of kutyapi playing.
His extensive repertoire of dinaladay, linapu, minuna, binalig, and other forms and
styles interpreted with refinement and sensitivity fully demonstrate creative and
expressive possibilities of his instrument.
He learned to play the kutyapi from his uncle at 13 years of age. At 35, he became the
most acclaimed kutyapi master and teacher of his instrument in Libutan and other
barangays of Maganoy town. Samaon is also proficient in kulintang, agong (suspended
bossed gong with wide rim), gandingan (bossed gong with narrow rim), palendag (lip-
valley flute), and tambul.
Samaon was a popular barber in his community and served as an Imam in the Libutan
mosque. For his exemplary artistry and dedication to his chosen instrument, for his
unwavering commitment to the music of the kutyapi at a time when this instrument no
longer exists in many parts of Mindanao, Samaon Sulaiman is worthy of emulation and
the highest honors. (Prof. Felipe M. de Leon, Jr.)
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4. LANG DULAY (+2015) Textile Weaver, T’boli from Lake Sebu, South Cotabato,1998
Using abaca fibers as fine as hair, Lang Dulay spoke more eloquently than words can.
Her people, the Tbolis, are recreated by her nimble hands – the crocodiles, butterflies
and flowers, along with mountains and streams, of Lake Sebu, South Cotabato, where
she and her ancestors were born – fill the fabric with their longing to be remembered.
Through her weaving, Lang Dulay did what she can to keep her people’s tradition alive.
Lang Dulay knew hundreds of designs, including the bulinglangit (clouds), the bankiring
(hair bangs), and the kabangi (butterfly), each one has special story to tell. Using red
and black dyes, she spins her stories with grace. Her textiles reflect the wisdom and the
visions of her people. Her textiles are judged excellently because of the “fine even
quality of the yarn”. She thought of the school that she wanted to build, a school where
women of her community could go to perfect their art. (Maricris Jan Tobias)

5. SALINTA MONON (+ 2009) Textile Weaver, Tagabawa Bagobo, Bansalan, Davao del Sur,
1998
Practically, since she was born, Salinta Monon had watched her mother’s nimble hands
glide over the loom, weaving traditional Bagobo textiles. At 12 she presented herself to
her mother, desiring the craft on how to weave herself. Her ardent desire to excel in the
art of her ancestors enabled her to learn quickly. At 65, she can identify the design as
well as the author of a woven piece just by a glance. Her husband paid her parents a
higher bride price because of her weaving skills.
She used to wear the traditional hand-woven tube skirt of the Bagobo, like sinukla and
the bandira, the most common types until the market flooded with cheap machine-made
fabrics. Now, she wears her traditional clothes only on special occasions. Her favorite is
the binuwaya (crocodile), which is one of the hardest to make.
Salinta maintains a pragmatic attitude in fact, she and her younger sister may be the
only Bagobo weavers left. The last links to a colorful tradition among their ancestors that
had endured throughout the Spanish and American colonization periods, and survived
with a certain vigor up to the late 1950s. (by: Maricris Jan Tobias)
6. ALONZO SACLAG, Musician and Dancer of Kalinga, Lubuagan, Kalinga, 2000
A Kalinga master of dance and the performing arts, he has made it in his mission to
create and nurture a greater consciousness and appreciation of Kalinga culture, among
the Kalinga themselves and beyond their borders.
As a young boy in Lubuagan, Kalinga, Alonzo Saclag found endless fascination in the
sights and sounds of day-to-day village life and ritual. According to his son, Robinson,
he received no instruction, formal or otherwise, in the performing arts.
He perseveres in his work, braving long hours of travel even in the face of a tribal war.
His wife, Rebecca, who faithfully follows him wherever his travels take him, says this is
his mission: to continue to nurture and uphold the Kalinga culture, the birthright of his
children. (Salve de la Paz)

7. FEDERICO CABALLERO, Epic Chanter of Sulod-Bukidnon, Calinog, Iloilo, 2000

Federico Caballero, comes from the mountains of Central Panay (Panay-Bukidnon). He
ceaselessly works for the documentation of the oral literature, particularly the epics, of
his people. His love for his people’s folklore began when he was a small child. His
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 mother would lull his brothers and sister to sleep, chanting an episode in time to the
gentle swaying of the hammock. His great-great-grandmother, his Anggoy Omil, used to
chant the epics.
Nong Pedring took the initiative task worked with the Bureau of Non-formal Education,
travelling from barangay to barangay, trying to convince the older folk of the necessity
and benefits of learning to read and write. Nong Pedring strives to dispense justice in
the community through his work as a manughusay – an arbiter of conflicts. He is
considered bantugan, a person who has attained distinction.
Dr. Alicia Magos a respected folklorist from the University of the Philippines in the
Visayas who has worked with him on the documentation project, says Nong Pedring
has the heart of a scholar. He understood his vision for the culture of the Panay-
Bukidnon. Dr. Magos credits him with opening the eyes of academicians, advocates,
and artists to the beauty of Panay-Bukidnon oral tradition. Yet the greater triumph is one
nearer to Nong Pedring’s heart. His children and family have of late rediscovered pride
in their heritage. They are no longer ashamed of their roots as they once were. To Nong
Pedring, there is perhaps no better reason than this to carry on with his work.

8. UWANG AHADAS, Musician Yakan, Lamitan, Basilan, 2000

The people lived in the belief of the Legend of the great Kaboniyan in the mountains of
Binaratan. Uwang Ahadas is a Yakan, a people to whom instrumental music is of much
significance, connected as it is with both the agricultural cycle and the social realm.
The old agricultural tradition involving the kwintangan kayu, an instrument consisting of
five wooden logs hung horizontally, from the shortest to the longest, with the shortest
being nearest the ground. After the planting of the rice, an unroofed platform is built high
in the branches of a tree. Then the kwintangan kayu is played to serenade the palay, as
a lover woos his beloved. Its resonance is believed to gently caress the plants, rousing
them from their deep sleep, encouraging them to grow and yield more fruit.
From the gabbang, a bamboo xylophone, his skills gradually allowed him to progress to
the agung, the kwintangan kayu, and later the other instruments. Yakan tradition sets
the kwintangan as a woman’s instrument and the agung is of a man’s instrument.By the
age of 20, he had mastered the most important of the Yakan musical instruments, the
kwintangan among them. His daughter, Darna, has become quite proficient in the art
like her father, she too has begun to train others.
His purpose carries him beyond the borders of Lamitan to the other towns of Basilan
where Uwang always finds a warm welcome from students, young and old, who eagerly
await his coming. To a man of his stature, this admission is certainly one that is very
difficult to make. But he expresses willingness to endure even though his dark glasses,
one can almost imagine seeing a not so faint glimmer in his eyes. (Salve de la Paz)

9. DARHATA SAWABI (+ 2005) Textile Weaver, a Tausug of Parang, Sulu, 2004

In Barangay Parang, in the island of Jolo, Sulu province, women weavers are hard at
work weaving the pis syabit, the traditional cloth tapestry worn as a head covering by
the Tausug of Jolo. She was one of those who took the art of pis syabit making to heart.

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 This, pis syabit is a hand-woven square measuring 39 by 40 inches, which takes her for
three months to weave, brings her about P2,000. These squares are purchased by
Tausug for headpieces, as well as to adorn native attire, bags and other accessories.
Pis syabit weaving is a difficult art. Preparing the warp alone already takes three days. It
is a very mechanical task, consisting of stringing black and red threads across a banana
and bamboo frame to form the base of the tapestry.
Sawabi remains faithful to the art of pis syabit weaving. Her strokes are firm and sure,
her color sensitivity, and her dedication to the quality of her products is unwavering. She
looks forward to sharing the tradition of pis syabit weaving to the younger generations.
(Maricris Jan Tobias)
10. EDUARDO MUTUC – Metalsmith Kapampangan of Apalit Pampanga, 2004
Eduardo Mutuc is an artist who has dedicated his life to creating religious and secular
art in silver, bronze and wood. His intricately detailed retablos, mirrors, altars, and
carosas which are in churches and private collections. One of his first commissions
came from Monsignor Fidelis Limcauco, who asked him to create a tabernacle for the
parish of Fairview, Quezon City. Clients began to commission him to create other
pieces, many are based on Spanish colonial designs.
Mutuc who uses different molds for each cherub to ensure their individuality. His
cherubin are engaging creatures, whose strikingly lifelike quality comes through the
silver plate. According to him, craftsmanship begins with respect for one’s tools and the
medium.
The first thing he teaches his students is how to hold the chisel and hammer properly to
promote ease of use and prevent fatigue and mistakes because of improper handling.
The only way to improve one’s skills, he says, is to immerse oneself, learn the
technique, and to practice. Only in perfecting one’s craft can there be real reward.
(Maricris Jan Tobias)
11. HAJA AMINA APPI (+ 2013) Mat Weaver of Sama, Tandubas, Tawi-Tawi 2004
Haja Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi, is recognized as the master
mat weaver among the Sama indigenous community of Ungos Matata. Her colorful
mats with their complex geometric patterns exhibit her precise sense of design,
proportion and symmetry and sensitivity to color. Her unique multi-colored mats are
protected by a plain white outer mat that serves as the mat’s backing. Her functional
and artistic creations take up to three months to make.
Haja Amina is respected throughout her community for her unique designs, the
straightness of her edging (tabig) and the fineness of her sasa and kima-kima. Her
hands are thick and callused from years of harvesting, stained by dye. But her hands
are still steady, and her eye for color still unerring. She is eager to teach, and looks
forward to sharing the art with other weavers. (Maricris Jan Tobias)

12. TEOFILO GARCIA - Casque Maker, Ilocano, San Quintin, Abra, 2012
Each time Teofilo Garcia leaves his farm in San Quintin, Abra, he makes it a point to
wear a tabungaw. With the proper care, a well-made tabungaw can last up to three to
four generations, and the ones created by Teofilo are among the best. They are sturdy
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 and farmers need to own only one at a time like Teofilo and his son own one tabungaw
hat each.
Crafting the tabungaw from planting and harvesting the upo, refining the uway (rattan)
that make up the lining of the tabungaw, weaving the puser (bamboo) that serves as the
accent for the work, and finishing the work takes up a lot of time. It takes at least seven
days to finish one tabungaw hat, assuming that all the materials are available.
He is interested in developing new ways to show contrast between the shades of
matting, and how to keep the tabungaw hat colorfast regardless of the weather. Years
after he first learned how to make a tabungaw, it still takes him a long time to perfect the
casque because he is still perfecting his art. (Maricris Jan Tobias)

13. MAGDALENA GAMAYO - Textile Weaver, Ilocano, Pinili, Ilocos Norte,2012

2012 Gawad sa Manlilikha ng Bayan awardee, Magdalena Gamayo still owes a lot to
the land and the annual harvest. Despite her status as master weaver, weaving alone is
not enough.The abel-weaving tradition in Ilocos remains strong, and there are no better
artists who exemplify the best of Filipino abel weaving tradition than Magdalena
Gamayo. Magdalena has been relying on her instincts, practiced hands, and innate
skills for years, starting at the age 16, when she learned the art of weaving from her
aunt. She was never formally taught, but picked up the art on her own by copying the
patterns.
Magdalena uses: a sturdy wooden frame with three feet pedals with wide horizontal
beams to support the warp and an even longer lengthwise frame to keep the threads in
place. It is different from the backstrap loom traditionally used in the Cordillera, where
the warp is anchored to a stationary object on one end and to the weaver’s body on the
other end.

14. AMBALANG AUSALIN – Yakan of Lamitan, Basilan, Textile Weaver, 2016 (born 4 March
1943)
She safeguards the tradition Yakan tennun (tapestry weaving). Apuh Ambalang, as she
is called by her community of weavers, is highly esteemed in all of Lamitan. Her skill is
deemed incomparable: she is able to bring forth all designs and actualize all textile
categories typical to the Yakan. She can execute the suwah bekkat (cross-stitch-like
embellishment) and suwah pendan (embroidery-like embellishment) techniques of
the bunga sama category. Having learned from her mother the expert, Ambalang, using
the backstrap loom, started to weave all designs of the bunga sama category, then took
on the sinalu’an and the seputangan, two of the most intricate categories in Yakan
weaving.

15. ESTELITA BANTILAN - (Labnai Tumndan), a B’laan weaver /Mat Weaver, 2016 (born 17
October 1940) of Mlasang, Malapatan, Sarangani South Cotabato.
It was a recognizable name in the language, B’laan, spoken in the montane hamlet
of Mlasang. Mlasang is Upper Lasang, a barangay of the municipality of Malapatan, in a
province called Cotabato. Shortly after, this province was subdivided and Malapatan
was absorbed into the new province of Sarangani.
The child Labnai, already precocious in mat weaving, took on the name Estelita in the
1950s. Protestant pastors had installed themselves among her people, had commenced
fundamental social change. When Estelita married, becoming Mrs. Bantilan, she raised

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 a family in the foreign faith. In her old age, Estelita began to be called by a new
nickname, “Princess". The term of endearment is spoken with the lightness of heart;
also, with genuine respect, especially from the other mat weavers of Upper Lasang.

16. YABING MASALON DULO Ikat Weaver, 2016 (born 8 August 1914), Dulo is a B'laan ikat
weaver from Mount Matutum, Polomolok in South Cotabato.
She promotes the tradition of B'laan mabal tabih (ikat weaving). In Mindanao, the
forests are for the most part an extinct form of community. Among all the peoples who
used to ikat in Mindanao, ikat is, for the most part, an extinct form of art-making,
community-making, and equilibrium-making. And but for Fu Yabing Dulo and only one
or two others (one of whom is her daughter Lamena), Blaan ikat dyeing is an extinct
form of human endeavor in a world gone the way of the forests.

17. Whang-od Oggay or also known as Maria Oggay (born 17 February 1917) is a Filipina
tattoo artist from Buscalan, Tinglayan, Kalinga, Philippines.
She is thought as the last mambabatok (traditional Kalinga tattooist) from the Butbut
people in Buscalan Kalinga and the oldest tattoo artist in the Philippines. She is 102
years and the last living tattoo artist. She was proclaimed as GAMABA awardee in
February 15, 2018.

The list of 2018 National Artists:

1. Francisco Mañosa (architecture),
2. Eric de Guia aka Kidlat Tahimik (film),
3. Ramon Muzones and
4. Resil B. Mojares (literature);
5. Ryan Cayabyab (music);
6. Amelia Lapeña Bonifacio (theater); &
7. Lauro “Larry” Alcala (visual arts).

A National Artist is granted the honors and privileges such as the rank and title of National
Artist, insignia of a National Artist and a citation, and a lifetime emolument and benefits similar
to those received by the highest officers in the country.

Among the incentives given to a GAMABA Awardee are:

P100,000 cash award for living awardees,
P75,000 cash award for posthumous awardees,
a monthly life pension medical and hospitalization benefits,
life insurance,
a state funeral at the Libingan ng mga Bayani, and
a place of honor at national state functions.

Additional notes:

In 2020, NCCA named Miss Universe 2018 Catriona Gray as Arts Ambassador for diligently
promoting Philippine arts and culture, before, during, and after her reign as Miss Universe.
(13 Nov 2020.) Miss Universe 2018 Catriona Gray added another feather to her cap on was
being named a new arts ambassador of the National Commission for Culture and the Arts
(NCCA). Gray was introduced as an ambassador of the arts for the year during a press
conference launching National Arts Month. Gray drew wide praise for her patriotic wardrobe
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during her Miss Universe bid, from the Mayon-inspired details of her dress, to jewelry that
symbolized the national flag. Julie Ann San Jose was named music ambassador, joining
fellow singer KZ Tandingan, who is returning in the same role after being tapped by the NCCA
last year.

Under Presidential Proclamation 683 by then President Corazon Aquino in 1991, the entire
month of February has since been dedicated as National Arts Month (NAM) every year to
celebrate Filipino arts and culture.

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NOTES ON DANCE:
Dance- consists of a succession or arrangement of steps and rhythmic movement to musical and/or rhythmic
accompaniment. It is a sport and an art form.
HISTORY OF DANCE
Before the Spanish Regime, various tribes, each with their own unique traditions and dances. For these people,
dance expresses their love of nature and their gratitude to the gods. Thanksgiving, worship and prayers for a
bountiful harvest mark the style of these dances.
Voyage to Mindanao: In the 12th Century, traders and seafarers came to the Philippines long before the
Spanish, bringing with them the Islamic faith and their culture (dance). Dancers wear costumes studded with
jewels while male dancers brandish swords and shields.
During Spanish Regime: western culture spread like wildfire throughout the islands and they quickly became
part of the culture. The "new" style of dance was named Maria Clara after the tragic character in Jose Rizal's
novel "Noli Me Tangere".
Barrio Fiesta: countryside farmers would gather to sing and dance in order to forget the day's troubles. These
dances revolve around everyday items such as glasses, candles, benches, hats and bamboo poles. Since the
dances are a celebration, they are often referred to as a ‘barrio fiesta’.
Barrio Fiesta: countryside farmers would gather to sing and dance in order to forget the day's troubles. These
dances revolve around everyday items such as glasses, candles, benches, hats and bamboo poles. Since the
dances are a celebration, they are often referred to as a ‘barrio fiesta’.
The National Dance: Tinikling, the national dance, is considered to be the oldest of the Philippine folk dances.

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Elements of Dance
▪ Content - The thought that the dance attempts to convey. It may try to tell a story, convey or evoke an
emotion, or express an attitude.
▪ Movement - The fundamental element of dance in which the thought or message is being expressed. It
is stylized and intensified in order to be expressive enough.
NB: movement must convey a purposive or emotional quality.
▪ Music - An element for which dance is created and an aid to the rhythmic movement of the dancer.
▪ Spectacle - Sequences and movements of dance creates a spell (created by scenery and costume) on
the audience. Scenery and costumes affects the mood and atmosphere of the event.
▪ Choreographer - The arranger of dance steps who has creative mind to that invents and creates the
steps. Choreography is the art of creating dances.
▪ Dancer - A person that performs the dance in an artistic manner. His physical, emotional and natural
characteristics determine the nature and quality of the dance.
FUNDAMENTALS OF MOVEMENT by Morwenna Assaf, Director
▪ CENTERING: the ability to move, to hold, to organize yourself around your own physical body. Moving
from the center will make movements easier to control
▪ GRAVITY: Gravity is a force that constantly inhibits movement.
▪ POSTURE: Dancers work all their dances live on their posture, also called alignment. It is the key to
balance and movement. Posture not only reveals the feelings but can also reveal feelings in you.
▪ BALANCE: This concerned with more than balancing on one leg but also to maintain an inner balance of
the whole body. It is a tension of mutual support among all parts that brings the whole together in a new
way.
▪ RHYTHM: Pay attention! It is the rhythm and the beat of the dance that form the "threads" which allow
you to memorize the structure of the dance.
▪ GESTURE: It involves using the body as an expressive instrument to communicate feelings and ideas in
patterns of movement.
▪ MOVING in SPACE: Be aware of the space around you. Move with care and awareness, gauging the
space. Space is not just empty air but a tangible element that you move through.
▪ BREATHING: crucial to dance not only does it bring oxygen to the body but it also gives your movements’
fluency and harmony. Calm slow breathing suggests a certain degree of self-control.
KINDS OF DANCE
 Communal Dance - A dance performed by the community itself. Tribal communities consider it as a form
of magic and/or a method for their struggle against evil spirits. eg. Malakas at maganda
 Ritual Dance - An organized dance with definite design, purpose and meaning used to celebrate nature
and mythology.
 Folk Dance - Evolved from older motifs of communal dance. It reflects ‘people’s paganism’ and used as
a charm for rain, fertility, good fortune, etc. It is best to fit those dances originated by agricultural peoples
for secular and sometimes ritual purposes, in countries that also have an art form of dance. eg. Pandango
sa ilaw, La Jota Manileno, Maglalatik,Tinikling.
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  Social Dances - Gay or happy and lively in character
KINDS of Social dances
❖ Ballet - The word ballet is derived from the Italian word baletti. It is defined either as a form of
‘stage entertainment’ or ‘theatrical’.
❖ Toe dancing is often considered synonymous with ballet, but ballet technique can be performed
without toe dancing. Because the steps were first named and codified in France, *French is the
international language of ballet.
❖ Modern Dance - A theatrical dance form of contemporary approach technique or style emerging
from and reflective of the 20th century. It is called contemporary dance in Europe.
❖ Difference of Ballet & Modern Dance
o Ballet emphasizes the conquest of the forces of nature weight or the pull of gravity, while
modern dance focuses on externalizing profound personal experiences through
movement that seem to have a psychological orientation.

❖ Jazz - is a fun dance style that relies heavily on originality and improvisation. Many jazz dancers
mix different styles into their dancing, incorporating their own expression.
❖ TAP Dance - Tap dancing is an exciting form of dance in which dancers wear special shoes
equipped with metal taps. Tap dancers use their feet like drums to create rhythmic patterns and
timely beats.
❖ SWING - Swing dance is a lively dance style in which couples swing, spin and jump together.
Swing dancing is a general term that means dancing to swing music, or music that "swings’.
❖ Flamenco dance - is an expressive dance form that mixes percussive footwork with intricate hand,
arm and body movements.
❖ Latin Dance - is a fast-paced, often sensual, partner dance characterized by sexy hip
movements. However, hip movements are not intentional in any of the Latin dances. The hip
motion is a natural consequence of changing weight from one foot to the other.
Philippine Dance - grew out of various contexts and experiences of the people. Many of the dances of the people
from the mountains recall the sculptured heights and the brave birds of the air.
Ethnic tradition - Ethnic groups have been in the archipelago for many millennia – their spirit for survival
has been inspired by their animalistic beliefs and shamanistic leaderships.
❖ The Spanish Colonial Tradition - People transferred their object of worship to saints (Christianity)
Examples of dance veneration:

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 Turumba – Laguna Sinulog – Bohol, Cebu
Pandaggo sa Ilaw – Bulacan Ati-atihan - Aklan
❖ American Colonial Tradition
▪ Tango, Rumba, Cha-cha, Samba, Limbo, Ballet
C. Nature of Cinema - It is defined in Greek as kinema-matos which means the science of pure motion. It is
actually a result of a number of other inventions like photography. It is the illusion of movement through projection
in rapid manner of moving pictures (MOTION PICTURES). Cinema appears to be the form of art that has the
greatest appeal of all the forms of art today. Its medium of expression is through a projection of a series of
images.
CINEMA AS AN ART FORM - is a complex activity. It is done by a number of personnel and involves physical
apparatuses cinema borrows from other arts like music, drama and literature.
Eadweard Muybridge (1830-1904) U.S Born in England, he was in the U.S. from youth. A photographer, he
was most interested in capturing "Animal Locomotion," the title of his summary work. Muybridge never produced
"moving pictures" himself, but his work was world-renowned and an influence on many to follow.
Different Types of Film
1. Fiction Film - Its purpose is telling stories. Whether the film is about a biographical, historical, social,
psychological, philosophical story or just plain fiction of one’s imagination. E.g. Fantasy, Action, Comedy,
Romance etc.
2. DOCUMENTARY Film - It presents a raw and actual footage of events and real people as they happened.
3. Non-fiction Film - It is usually referred to an instructional or educational film. It can cover scientific,
technological and such other films which is not based on imagination.
Elements of the Cinema
1. TIME - It is the most important element of the cinema. The time element of the cinema includes the physical,
psychological and dramatic time.
A. Physical Time - is the time taken by an action as it is being filmed and projected on the screen.
1. Slow Motion - happens when the camera takes pictures longer and in slower pace.
2. Accelerated Motion - occurs when the camera takes pictures shorter and in faster pace.
3. Reversed Motion - conveys an undoing of time (flashback). It is used for magic and comics effects.
4. Stopped Motion – not often used instead of stopping the action of a moving sequence, still
photographs are used.
B. Psychological Time - viewers’ emotional impression of the duration of the action that they
experience as they watch a film.
C. Dramatic Time - refers to the time taken up by the events which are depicted in the film. The
cinema may use a story-line that covers a single day in the life of the character or the whole
history of civilization.
2. Space - Space on the screen is flat and the perception of depth is just an illusion. The cinema uses three-
dimensionality.
SCALE - refers to the size of the objects on the screen.
Long Shot – is taken when the camera is positioned very far from the object.
Medium Shot – is taken from an average distance.
Close Up – results from the camera which is situated so close to the object.
Lighting - another means used to give illusion of depth in the film
The Shooting Angles - can express subjectively what things are like as they are seen from the
point of view of a character.
3. Sound - Sound in the film is selected, unlike the sound-filled environment in real life. The intensity,
pitch, volume and texture of these sounds are recorded in their optical equivalent on the strip of
negatives parallel to the images.

Central Techniques of Camera

1. Cutting - helps the director eliminate unwanted scenes and to make space seem larger.
Montage - shooting pictures of objects or scenes and joining them together to produce a

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 particular meaning or sense.
Fade - shows the old image gradually fading out and a brief period of darkness comes to
the screen before a new scene gradually becomes visible
Transitions - use to make cutting invisible.
2. Camera Movement - It helps the viewers experience gradual growth of ideas or emotions. If the
camera is kept in the same place but turned on its axis, the movement is called panning.
3. Framing - The fixed rectangular picture in a film shows only fragment of a reality. The cinema’s
limitation allows the director to choose only the significant to be shown. Framing brings
about balance and unity to be seen on the film as a basis of design.
Philippine Cinema:
 Japanese Times… - Documentaries projecting Allied victories during the World War II were made.
“Gerilya”, “Kaaway” and “Makapili” are some of the movies made during this time.
 1950’s… - Folk characters like Juan Tamad was born. Horror movies were made. It was this decade that
Filipino movies started to gain international recognition.
 1960’s… - Foreign producers have produced and filmed soft-core sex films.
 1970’s … - Filipino filmmakers started making films with great and artistic value. In contemporary
Philippine Cinema, “Indie” Films are popularly known and it was derived from the word INDEPENDENT.
Some Problems in the Philippine Movie Industry:

• Limitation in the importation of quality films from countries other than the United States.
• The ever dominance of Hollywood-made films.
• Inadequate government support for the industry.
• The insistence of movie producers on formula movies, that is, the commercial quality of a film
must be of first priority before artistic quality.
• The use of poor story materials for films from vernacular magazine serials and comic books.
• The low level of film-making technology, which cannot compete with western standards.

D. NATURE OF THEATER - Theater has been defined in various ways from the time it has started up to the
present times. The differences are due to the differences of people’s opinion regarding the function and
importance of theater.
The Greeks believed that theater was a religious ritual for it commands the development of the best minds in
the community.
The Romans held the idea that theater became little more than a degraded pleasure.
The Church has defined differently according to periods.
❑ For the Early Church: theater was an evil to be crushed but centuries later, great mysteries and miracles
became a part of the Holy rites.
For Great Playwrights - The theatre was a means of probing the very meaning and existence of life.
For some parents - The theatre is an evil bound to wreck the personality.
For some Psychiatrists - The Theater is practically a panacea for all personality and character ills.
ELEMENTS OF THEATER
◼ The Actor/Actress - the chief medium of the director. It includes to be imaginative to help portray his
character more.
◼ The Director - the pivotal element in theater. It possesses essential qualities for a successful
presentation of a show and maintain a better working relationship among the members.
◼ The Audience - the message of the story is conveyed between the actors and the audience.
◼ The Text or Script - serves as the guide for the whole team of the presentation to make the theatrical
presentation organized.
◼ Theater Space - commonly called as the “set”. This is the place where the audience and the performers
come together.
◼ Design - this includes costume, make-up, props and properties, and lights and sounds.

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1. DRAMA - Aristotle defined drama as an imitation of man in action. This definition of Aristotle puts action at
the core of drama and not the word.
Elements of Drama
➢ The Plot - is the sequence of events of incidents of which the story is composed.
➢ The Characters - are almost invariably of exceptional intelligence and sensitivity.
➢ Theme - is the controlling or central insight which can be a revelation of human character. This is not the
moral of the story.
➢ Point of View - refers to the way the main character is presented.
➢ Symbols - the details taken symbolically. Its emphasis on existence, repetitions or positions.
➢ Irony - used to suggest difference between appearance and reality, between expectation and fulfillment,
the complexity of experience, to furnish indirectly an evaluation of the author’s material and at the same
time to achieve compression.
➢ Music and Spectacle - refers to the ‘background’ music, the speech and movement. The spectacle
enhances the setting or atmosphere whether of happiness or sorrow.
➢ Costume & Makeup - to enhance the character of the performer on stage.
CLASSIFICATIONS OF DRAMA
TRAGEDY - commonly regarded as the greatest and most noble form of drama. This gives fundamentally
optimistic and liberal view of life.
MELODRAMA - tends to strive for the theatrical rather than the literary.
COMEDY - wit and humor go hand in hand.
FARCE - a low, popular comic form of entertainment in which fast action, contrived situations, physical mishaps,
and even puns or obscenities lie at the root of its outrageous merriment.
2. OPERA - It is a combination of music and drama in which music is not equal or incidental partner.
3. SARZUELA - A Spanish lyric-dramatic genre that alternates between spoken and sung scenes.
HISTORY OF THEATER
1. Greek Theater - Strict number of actors and women were never allowed to take part for the play on
stage.
Tragedy - Tradition of portraying life events of gods.
Comedy (comus: on procession and masquerade) - Celebration of the villagers regarding the fertility of
the earth.
• Three names known in the field of tragedy:
• Aeschylus – accepted the will of god unquestioningly.
• Sophocles – more aware of humanity and human motives.
• Euripides - most daring for he threw the religious conventions and wrote his own thoughts.

2. Roman Theater - The Romans had more influence on English than that of the Greeks. The greatest
Roman influences on theater were mimus and pantomimes.
(Pantomimes – an entertainment in theatre involving music and slapstick comedy. Mime - use of silent
gestures and facial expressions to tell a story or show feelings
3. Medieval Theater - When classical drama came to an end, liturgical church drama came into existence
in Western Europe.
4. Elizabethan Theater - The term “Elizabethan” is loosely used to describe the dramatic works of the
English Renaissance. Elizabethan plays reflect an age of two faces,
Refined and fashionable - court and nobles
Vast, crude and underneath - almost everyone who did not belong to the upper class.
5. Modern Theater - One distinguishing factor of theater in the modern times was the emergence of
innovations in the field of theater. Among these were the realistic dialogue in place of earlier rhetoric and
declamation, a less restrained gestures, a set that was carefully designed to be as accurate as possible.
6. Postmodern Theater - Postmodern theatre comes out of the postmodern philosophy that originated in
the 1960 Europe. It is ‘centered on highlighting the fallibility of ‘truths’ which are held as definite and more
precise. It is deconstructed in order for the audience to reach their own individual understanding.

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