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Learning Materials for

CONTEMPORARY PHILIPPINE ARTS FROM

THE REGIONS (CAR11/12)
Prepared by:
MAYCHELOU R. CASTILLO

Dates:
June 1, 2021 – June 15, 2021

Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
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 Page |2

Contemporary Philippine Arts from the Regions (CAR11/12)

Learning Materials

Most Essential Learning Competencies (Learning Materials 5 - Lessons 9&10)

In contemporary art, mere expression might not be enough. Advancements in expressions continue to
emerge with time. A young contemporary artist who aspires to be known in his/her field should learn how to
experiment and innovate.

Given the lessons that you have learned from the previous chapters, hopefully, you are now equipped
to create an artistic masterpiece — a piece that not only you can be proud of, but also by your region as well. It
is time to put your knowledge into practice.

Learning Targets
At the end of this chapter, you should be able to:

1. acknowledge the significant roles of digitalization in society

2. acknowledge the significance of networking in the regions
3. plan a multimedia street performance for a grand festival in your region
4. plan a multimedia class presentation based on the art forms of the regions
5. organize into groups to facilitate the process of producing the project
6. present/ perform a contemporary Philippine art production
7. conceptualize contemporary art based on techniques and performance practices in your locality
8. apply artistic skills and techniques in the process of creation
9. incorporate contemporary characteristics to one’s creation with attention to detail
10. create the intended final product, using appropriate materials for the best possible output

Experimentations
To keep the arts fresh and exciting, artists perform experimentations in creating works of art.
Experimentation is a feature that is not as evident because it is a part of the creative process. It consists
of several trial-and-error attempts until the desired result is achieved. The outcomes are usually original, unique,
and innovative productions.
Take, for example, the recent performance of El Gamma Penumbra, a Philippine shadow play group, in
AXN Asia’s reality talent show, Asia's Got Talent. El Gamma Penumbra has won the hearts of the masses because
of their unique presentation, experimental visuals and movements, and powerful themes and messages. Thus,
every time El Gamma Penumbra performs on stage, the audience gets carried away.
In experimental cinema, there are the independent films, better known as indie films. An indie film is a
movie usually produced with (sometimes without) a relatively small production outfit, thus, requiring the
minimal production budget. It is oftentimes called an art film for it bears the filmmaker’s personal artistic vision.
To promote and develop the indie film, the CCP has created the Cinemalaya Philippine Independent Film
Festival. This festival showcases various indie films during the months of July and August. In this festival, ten
filmmakers compete for the prestigious Balanghai Award.
In visual design, performance art (also called art in action or “happenings’”’) is usually done in public,
where an artist or several members perform the artwork on- the-spot. There is usually some element of
discovery or even surprise. If the project is done on a sidewalk or part of a street, it is temporary. Sometimes
artists are allowed to paint along cemented fences or walls of institutions where their murals can remain
permanent. This type of art is specially rampant in Metro Manila. If you reside in or have gone to Metro Manila,
you may have noticed the paintings and murals around. Some government agencies, like the Armed Forces of
the Philippines and the Ninoy Aquino Parks and Wildlife Center, have commissioned artists to paint murals on

Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
MRC
 Page |3

their fences. A paint company, together with the Metro Manila Development Authority (MMDA), even
contracted Finnish filmmaker Tapio Snellman to paint a vast mural on the walls of the Cubao-Aurora underpass.
Others, like Technological University of the Philippines, have conducted mural painting competitions to
showcase the creativity of young Filipino artists.
Where else can contemporary murals be found in the country? Are there outdoor murals in your region?
Where are they located?
Parks have been the starting point of experimental art forms, like the lights and sounds show which is
popular in the major cities in the country. This innovative production started in France in the 1950s and is called
“Son et Lumiere.” It is a form of outdoor night time entertainment consisting of the special lighting effects
accompanied by synchronized music. The Rizal Park in Manila features a daily light and sound show (Luneta
Dancing Fountain) for free, from 7 pm to 10 pm. During the Christmas season, the Ayala Triangle in Makati City
adorns its park with thousands of Christmas lights for an hourly light and sound spectacle.

Digitalization
The emergence of digital technology has given rise to new directions in the arts. Right now, we do not
even have to get out of our seat to enjoy the arts. We can instantly download them through several apps and
sites. Social media has helped in many ways to propagate the arts. Because of technology, arts are now being
redirected to new avenues.
Digital technology is the new medium. It has solved many challenges to the artists from the previous
decades. All the art forms to enhance, supplement, or sometimes replace the content, form, and style of their
works.
Take the case of architecture. The CAD (Computer Aid Design) has taken over and replaced the work of
the draftsman. This program does the architectural or engineering drawings of the professional architect or
engineer that will eventually become the blueprint for construction. The difference between the time and effort
to produce the drawing has been lessened drastically. Digital technology saves time.
In visual design, several types of digital media art have appeared, such as virtual reality, net art, virtual
installation, digital imaging, and animation. However, these are techniques that require digital know-how,
technical, and creative skills.
In sixth grade, you have explored different software programs that will allow you to create digital art.
For visual design, some software programs are InkScape, GIMP, MS Paint, and Adobe Photoshop. For video
productions, there are the Windows Movie Maker, Sony Vegas, Adobe Premiere, Adobe After-Effects, and
Macromedia Flash. You can even produce 3D animation, using the software program, Blender.
Another notable innovation in experimental art is the interactive art. This type of art allows the spectator
to be literally a part of the artwork. Oftentimes, the intensity of the art depends on the participation and the
interpretation of the spectator. Perhaps the most popular kind of interactive art is the optical art, better known
as “3D art” or “trick art.” Optical art is a two-dimensional type of art that gives illusion of depth to its spectators.
One of the pioneers of 3D art in the country is the Guhit Visual Arts Group, a former university-based
visual arts group that propagates culture through art. It consists of artists who have masterminded the works
in Manila trick art museums like Tutuban. Virtual Zoo and Seriland Trick Art Museum. .
Several trick art museums have opened in the country, with a small number nestling in Metro Manila,
and two in Boracay and in Cebu. The largest trick art museum in Asia, Art in Island, is located in Quezon City.
In literature, there are e-books, animated poetry, interactive fiction, and hypertext fiction and poetry.
Frank G. Rivera, a theater director and playwright, popularized a poetry series that is written and read on mobile
phones. Called “textula,” his textual series has gained attention in social media, print media, and even in political
rallies.
Choreography uses technology for dance notations and interactive techniques, breeding a new form of
choreographic practice. Through social media, different kinds of choreography are now being viewed by
spectators — dancers and nondancers alike — worldwide.
It is the same with musicians. Nowadays, most musicians use digital music to devise new forms of
expression. They use technology for recording, mixing, storing, editing, and performing music. Broadcasting has
become easier since sites dedicated for music broadcast, like Soundcloud and Spotify, have already emerged.
With these sites, local musicians are now able to reach a larger number of audience here and abroad.
Charice Pempengco, a noteworthy Filipina singer, rose to international fame with the help of social
media. Through videos which showcase her vocal prowess, she has gained the attention of American celebrity
Ellen Degeneres, propelling her to worldwide stardom.

Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
MRC
 Page |4

Theater and cinema use the same digital processes as music, but added to these, theater and cinema
use this technology to enhance and innovate visual, lighting and sound effects together with the performers
onstage or on the screen. Digital technology has changed the art scenery, creating multimedia forms. It is the
new medium of the arts.

Networking
In Chapter 1; we have already noted the early networking and outreach activities that were initiated by
NCCA and CCP and that involved cultural interactions and exchange tours in the regions. When the NCCA was
formed, it was mandated “to facilitate the organization of a network of regional and local councils for culture
and the arts....to ensure a broad nationwide, people-based participation in the formulation of plans, the
enforcement of culture-related laws and regulations, the implementation of programs/projects and the review
of funding requirements.” Consequently, NCCA’s Commission on the Arts took over and officially did the
networking in the different fields of art. Here, we shall cite the activities for theater arts and the visual arts.
In the National Capital Region, there are on-going workshops of different kinds of performance practices
and outreach programs sponsored by the CCP, NCCA, the various universities, and theater groups in the area.
PETA’s outreach projects span regional area partnerships in Cordillera, Mindoro, Southern Luzon, and greater
Metro Manila.
One outreach program which came after the devastating Typhoon Yolanda in Leyte involved the Royal
Academy of Dramatic Art (RADA) of Great Britain, the British Council, and PETA. After a week-long workshop,
two groups of artist-teachers went to Tacloban and linked with the local communities. They collaborated to help
the partner communities produce a performance, based on the traumatic experiences of the people brought
about by the calamity. This aimed to help the people of Tacloban to relive and relieve their experiences and
come to terms with themselves.
Mainly, performance practices in the regions are done through cultural exchange program and
networking facilitated by the Commission on Dramatic Arts (CDA), a sub- commission of the NCCA. CDA ensures
a continuing linkage among theater groups in the different regions of Luzon, Visayas, and Mindanao. .
The Luzon Theater Network organized in 1995 the first regional theater activity called “The First Lusong
’95 Theater Festival.” Participating theater groups from the Luzon were Dap-ayan Ti Kultura ti Kordilyera, Teatro
Amanuyis, Barasoain Kalinangan Foundation of Malolos, ARTIST-Korido, Kaborongan Bicol Cultural Alliance, and
Bukawel Performing Arts.
More groups have participated in the ensuing Luzon Theater Festivals. OBON DI MALAYAD Inc. (ODM)
from Lubon, Tadian, Mt. Province; Teatro Sandaang Pulo (TSP) of Alaminos, Pangasinan; and Janghalang
Gattayaw, a youth theater group from Liliw, Laguna joined the bandwagon. The Arts Research and Training
Institute in Southern Tagalog, Inc. (ARTIST, Inc.), an NGO based in Los Bafios, Laguna, addresses various needs
of different community-based cultural groups in the South. It provides arts education training, research, and
production works.
Counterparts in the Visayas and Mindanao followed with various activities and programs. Regional
festivals which were aimed to strengthen regional ties were held in Davao, Bohol, and Cebu. The Visayan Theater
Network gave a directing workshop for community and school-based groups and a theater production training
workshop for community cultural workers. “Saulo sa Sentenyal,” a touring regional festival of musical theater
that featured Visayan plays went to Davao, Bohol, and Cebu.
The Visayan Islands Visual Arts Exchange and Conference (VIVA EXcon) founded in 1990 by Black Artists
of Asia is an organized biennale aimed to promote and showcase the visual arts that are reflective of the cultural
influences, historical heritage, and current issues of the different regions. It also encourages innovative and
collaborative outputs from the artists in the different islands. The conference discussions center on the
development of the arts in the region.
In Cebu, “One Visayas, One People, One Destiny Fest” was held. The goal of the fest was to create unity
among the different regions in the Visayas. It featured the arts of the three regions. There were seminars and
fora for local literature, music from the different Visayan regions, and performances from local theater groups.
It also held a trade expo to show the arts and crafts of the region.
In Mindanao, several groups have also worked to propagate the rich arts and culture of the Southern
regions. One of them is Ani sa Dulang Mindanao (MINDULANI). It features a popular theater brought together
by cultural and arts workers, and the art councils of the region. Their sources of inspiration were the wisdom of
the Mindanaoan lumads (indigenous people), Moro, and lowland settlers.
Cultural, school-based, and semi-professional theater groups sprouted in Marawi City, General Santos
City, Iligan, and Cagayan de Oro. Young People’s Theater and Children’s Theater programs in Butuan, Davao,
Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
MRC
 Page |5

and Marbel, have also created ripples in the Southern arts. Most of these groups have organized and continued
to facilitate community-based, parish-based, or sector-focused cultural activities in Mindanao.

Contemporary Art Production

After you have been adequately acquainted with the Philippine contemporary art, you have known
voluminous contributions of the different art forms in the various regions in the country.
The roles that the country’s artists, cultural workers, and art communities perform to propagate arts in
the country have also served as key points why Philippine arts is still lively up to this day. The artists use their
talents and skills in creative and innovative ways to respond to the concerns and problems of the time. They
also show us how to celebrate life even in times of hardship. With the effort and support given by various art
groups and by the prime cultural bodies, the NCCA and the CCP, the arts and culture of the Philippines continue
to flourish through time.
Now, it is your time to express your gratitude and appreciation for these artists’ valuable, entertaining,
and sometimes daring endeavors. In this sub-chapter, you will be making a multimedia art production dedicated
to the artists and cultural workers of today. To execute this project, you have to delve into the different aspects
that make up a production one by one.

The Production Team

A masterpiece without a master is not an art.
Every work of art has a brain and a heart that have fueled it to life. That is why to be able to create your
own production masterpiece, you must explore the roles and responsibilities of the people behind the
masterpieces—the production team.
Each art form has a production team. A production team may be composed of painters, drafters,
muralists, and the like for a visual design; engineers and architects for an architecture; directors, screenplay
writers, and actors for film; playwrights, actors, and directors for theater; and many others. Artists’ expertise
varies from one art form to another.
If a production is planned by a sole artist, then there will be no hitch with coordination. He or she is the
only master in the artwork. However, if a production consists of several artists in collaboration, then proper
communication and organization of the artists shall be a core part of the plan.
In a collaborative artwork, such as theater, film, and other art exhibitions, the clear division of labor is
something that a producer or production head must take note of. As much as possible, multitasking should be
avoided to prevent confusion in the part of the members. This step is also a sign of trust and respect for the
other member’s job.
For example, a writer’s sole responsibility should be the script and nothing else. This will help the writer
focus on his or her work, harnessing the skills for which he or she has been blessed.
All co-members of the team are responsible to respect the work that the writer has done. Although the
critiquing of another’s work is still necessary, an artist must be able to express his or her ideas thoroughly before
others lay out their opinions. However, an artist must digest the opinion of the others even if he or she
himself/herself may not concur in approval. The deliberation of opinions in a collaboration is the key to a soulful
expression of skills. ,
In theater, there are those who are in charge of the artistic aspects of the production and then in the
management aspects of the production. The artistic staff is compound of the directions with the musical
directors, the choreography, sounds, lights, and technical director. Management includes the production
manager, staff manager, house manager, and the backstage crew.

The Writers
In a class production, a collaboration of writers is involved in the creation and development of the
concept and the script that will be used in the performance. This team is responsible for putting into writing the
entire plan, including the ideas of the director and choreographer, turn the theme into a narrative, make the
speaking lines of the actors clear, simple, easy to understand, and aligned with the concept.
Furthermore, this group of writers sees to it that the lines are not too long but instead are straight to
the point, and will not waste the time of the presentation. They also help the director in composing a short
introduction and a final speech to address the audience and acknowledge the work of the entire class.

Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
MRC
 Page |6

The Director
The director is the overall supervisor of the team. He/she is responsible for turning the concept (and
script) into reality: He/she forms the cast and assigns roles to the actors; and chooses the venue, set design,
color scheme, costumes, props, lighting and sound effects, etc. The director works with the actors and the entire
crew to carry out their vision, and works with everyone involved from start to finish. In order to maintain a
smooth relationship with everyone in the production, the director moves everyone to action in a pleasant and
agreeable way. Aside from these, he or she must also be open-minded and willing to accept suggestions.

The Choreographer
The choreographer designs and arranges the dance steps and movements of the individual performers
and envisions the entire ensemble as a whole piece. He or she sees to it that the choreography matches or in
line with the theme. The choreographer provides the framework for the dance but allows the dancers the
freedom to suggest and demonstrate a step or a movement that can be incorporated into the choreography.
Like the director, the choreographer must also show a pleasant, agreeable manner.

The Actors/ The Performers

The actors or performers have more defined roles. They must do what the director or choreographer
asks them to do. The lead actors/ performers may improvise and make their own interpretation of the role.
However, the supporting cast has to follow strictly the instructions of the director/choreographer, or else it
might upstage the lead roles.

The Backstage Crew

The backstage crew is in charge of the practical matters involving the show; The stage manager acts as
a prompter, making sure the actors are on cue; the props people are ready to hand the props or place them in
the proper places; the technicians test the lights and sounds beforehand, ensuring that the lights and sounds
are on time and of the right intensity; the designers and makeup artists check that the stage sets, costumes, and
makeup are in proper form; and many others.
The crew also makes sure that the showplace is cleaned up and in order after the presentation. However,
cleaning up is not the sole responsibility of the backstage crew. Everyone in the production is duty bound to
help clean the premises afterwards.
These are the duties and responsibilities of the production staff — which, in your case, is the entire class.
This is a collaborative effort and therefore, it calls for utmost cooperation and teamwork. The success of the
production depends on everyone in the team because if there is an obstacle, the entire class will be affected.

The Concept
When you are given a problem to solve, you start first with several ideas of how to solve it. How do you
generate ideas in a group?
There are several ways, but the common way is to do some brainstorming, getting as many ideas as
possible — from the usual ones to the wild, crazy, weird, even nonsensical ones. All suggestions are respected
and accepted in a non-judgmental manner. After the ideas are exhausted, the class selects the best one: the
most realistic, practical, and suitable for the production. This idea or concept is developed and becomes the
theme. The theme is then turned into a narrative for the production.

The Plan
As everyone knows, planning is necessary in any venture. A housewife or husband plans the meals for
the day, or else the family will not have anything to eat. In school, a teacher prepares a lesson plan before the
start of every class, or else the session will just be an activity without direction. So, the first step in planning is
setting objectives. What do you want to achieve at the end of your activity?
After setting your objectives, then you can start planning. This is the time to organize your human and
material resources. List down the needs to make things happen. Assign persons to do specific tasks. Create a
timetable for the tasks and for rehearsals—how many times and how long they will be. Rehearsals are important
because a poorly - rehearsed program will be evident. It is imperative that everyone is present during rehearsals.
Select members for specific tasks and be sure that the tasks match the skills and abilities of the members
(e.g., an artist can be in charge of the set design and other visuals needed in the presentation; a computer expert
can be in charge of this technology needed for the presentation). Members who are good at searching for
supplies and facilities can be assigned the logistical tasks. There are more jobs to be considered: the job of music
Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
MRC
 Page |7

and sound technician, of the wardrobe mistress, of the prompter, and so on. Constant monitoring and checking
of assignments and tasks are necessary. Perhaps it would be good to put someone in charge to monitor all
activities.
Remember that this is a collaborative work and, therefore, team effort is much needed. This is one big
activity involving the whole class. Think about the house of cards. If one card falls, the others will follow. Success
means the cooperation and assistance of everyone.
While the members of the group are minding their tasks, the director and the choreographer are busy
with their actors and dancers. First, the director discusses the script with the actors and the first reading begins.
Then, they move to the venue and the director starts the process of blocking and determining the movement
of the actors.
The choreographer gives instructions for the general arrangement of the dancers and demonstrates the
movements. The first rehearsal is just about the dancers moving individually and later as a whole group. The
music will enter in the next rehearsals. All rehearsals are continuous until the day of the presentation.

The Presentation
The day of the performance arrives and everyone is tense. One of the jobs of the director is to keep
everyone calm. The audience trickles in. All of the members are backstage and are not allowed to mingle with
the audience. The production starts at the designated time.
Everyone is quiet. The director appears and gives a short introduction, welcoming the guests and giving
some remarks relevant to the production. He or she also introduces the choreographer. The show begins. At
the end of the show, the entire class appears onstage and takes a bow. The director thanks the audience and
everyone in the school, especially their teacher (who has acted as the producer) and everyone else who has
assisted and supported them in the production.

The Feedback
At the end of the presentation, it is possible for the teacher to ask a feedback from the audience. After
that, all the members meet to give and get feedback. Feedback is needed to get information on the result of the
presentation. Participants give their comments on what have gone well and what have needed some
adjustments. The teacher facilitates the feedback. He or she gives the ground rules. Feedback is all about
constructive criticism. It should be given in an objective manner and must not be taken personally.

Reference Book: Benavides-Perez, Angelita, M.A., (2016). Philippine Contemporary Arts (Expressions and Experimentations)
For Academic Purposes Only
MRC