CONTEMPORARY ARTS FROM THE REGION OF

PHILPPINES MODULE

I. Instruction on the Proper Use of this module

1. Follow closely the instructions in every activity.
2. Be honest in answering and checking your exercises.
3. Answer the pre-test before going over the materials. This is finding out what you
already know.
4. Answer the exercise encountered at the end of every lessons.
5. Review the lesson that you think you failed to understand.
6. Seek assistance from your teachers if you need help .

Module Content:
Lesson 1: Contemporary Art

LEARNING OUTCOME/COMPETENCIES

Identify the meaning of contemporary art and its main characteristics of what makes a Filipino artwork.

Appreciate the beauty of Philippine Art through promoting Filipino Artworks.
 Compare forms of arts from the different region and Enumerate contemporary art forms based on elements and
principles.
PERFORMANCE STANDARDS
The learner creates avenues to advocate the arts from the different regions.

II. Introduction: (This is usually called preliminaries to be done by the teacher before starting the lesson
proper. The teacher should be the expert player on how to introduce the topic.)
Contemporary Art- is the art of today, produced in the second half of the 20th century or in the 21st
century. Contemporary artists work in a globally influenced, culturally diverse, and technologically
advancing world. Their art is a dynamic combination of materials, methods, concepts, and subjects that
continue the challenging of boundaries that was already well underway in the 20th century.

III. LESSON 1
Contemporary Art

What Do You Need To Know

The teacher will discuss the three major traditions in the development of Philippine Arts. The teacher will show
different examples from different art forms and ask the students in what period it belongs to.
 Contemporary art is the art of today, produced in the second half of the 20th century or in the 21st
century. Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing
world. Their art is a dynamic combination of materials, methods, concepts, and subjects that continue the
challenging of boundaries that was already well underway in the 20th century. Diverse and eclectic,
contemporary art as a whole is distinguished by the very lack of a uniform, organizing principle, ideology, or " -
ism". Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as
personal and cultural identity, family, community, and nationality.

Some define contemporary art as art produced within "our lifetime," recognizing that lifetimes and life spans
vary. However, there is a recognition that this generic definition is subject to specialized limitations.
The classification of "contemporary art" as a special type of art, rather than a general adjectival phrase, goes
back to the beginnings of Modernism in the English-speaking world. In London, the Contemporary Art Society
was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in
public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938
the Contemporary Art Society of Adelaide, Australia, and an increasing number after 1945.

Ethnic Tradition

 Painting – picture of Spolarium by Juan Luna

 Architecture – picture of old houses during the pre-colonial period
 Sculpture- picture of Manunggul Jar
 Weaving- picture or weaved materials made in Philippines
 Dances- picture of tribal dances
 Music- picture of tribes with their instruments

 Literature- picture of different popular here-says(moral values) in the Philippines

 Theater- picture of rituals in tribes

(Tribal ritual to renew friendship between natives, Muslims and settlers)

The ritual has been held at the foot of Mount Kitanglad since 2012. For Talaandig tribal chief,
this year’s ceremony is “important now, especially that the Bangsamoro Autonomous Region of
Muslim Mindanao is being implemented”. Tensions among Muslims continue. The MILF’s
central role fuels disagreements. For PIME missionary, the “situation remains fluid”.

Spanish Period
 Painting – picture of paintings with religious images

Gaspar Miguel de Berrío, Our Lady of Mount Carmel with Bishop Saints, 1764, oil on canvas.
 Architecture – picture of concrete houses during the Spanish Periods
(Bahay na gawa ng bato during the Spanish period)

images may be subject to copyright

 Dances- picture of balse, pandango and polka

The Spanish Colonial Tradition in Philippine Dance

When the Spaniards came to the Philippines in the 16th century, they brought with them the
Spanish religion and European arts and culture. The native religion and culture slowly gave way
to Christianity and Western civilization. The natives started to lose most of their ancient
traditions in the literary, visual, and performing arts. In no time, dances from Spain, France, and
other European countries, such as the jota, valse, fandango, habanera, schottische, mazurka,
paseo, marcha, and paso doble, were adopted and adapted to the tastes and needs of a colonial
society and the conditions of climate and seasons in a tropical archipelago.

 Music- picture zarzuelas and operas

 Literature- picture of religious and secular prose and poetry

  Theater- picture of secular and religious plays like komedya

American Period
  Education

 Technology

 Politics
The period of U.S. influence

The juxtaposition of U.S. democracy and imperial rule over a subject people was sufficiently jarring to most
Americans that, from the beginning, the training of Filipinos for self-government and ultimate independence—the
Malolos Republic was conveniently ignored—was an essential rationalization for U.S.  hegemony in the islands.
Policy differences between the two main political parties in the United States focused on the speed with which
self-government should be extended and the date on which independence should be granted.
In 1899 Pres. William McKinley sent to the Philippines a five-person fact-finding commission headed by Cornell
University president Jacob G. Schurman. Schurman reported back that Filipinos wanted ultimate independence,
but this had no immediate impact on policy. McKinley sent out the Second Philippine Commission in 1900,
under William Howard Taft; by July 1901 it had established civil government.
In 1907 the Philippine Commission, which had been acting as both legislature and governor-general’s  cabinet,
became the upper house of a bicameral body. The new 80-member Philippine Assembly was directly elected by a
somewhat restricted electorate from single-member districts, making it the first elective legislative body
in Southeast Asia. When Gov.- Gen. Francis B. Harrison appointed a Filipino majority to the commission in 1913,
the American voice in the legislative process was further reduced.
Bibliography/reference
Contemporary Arts From The Region Of Philippines book and www.Google.com

Module Content:
Lesson 2: Philippine Contemporary Art and Arts Promotion and Preservation

LEARNING OUTCOME/COMPETENCIES
 Identify the contemporary art production in the Philippines
 Appreciate the importance of promoting and preserving the different artworks and art forms in the
Philippines and its relevance to history.
 Promote the different artworks and art forms found in the Philippines

IV. Introduction: (This is usually called preliminaries to be done by the teacher before starting the lesson proper. The
teacher should be the expert player on how to introduce the topic.)

Philippine Contemporary Art and Arts Promotion and Preservation-

National Commission for Culture and the Arts, Cultural Center of the Philippines, National Historical Commission of the
Philippines, National Museum, National Library of the Philippines, National Archives of the Philippines and Komisyon sa Wikang
Filipino, are all essential and important. These agencies exist and function for the benefit of the country and the Filipino
citizens. In order to successfully promote and preserve the arts, culture and history of the Philippines, these agencies must
always continue to operate, fulfill their objectives and serve their purpose. Through the aforementioned agencies, appreciation
for Philippine culture and arts and awareness of the history and significant events in the development and evolution of the
nation are induced. By way of this, community engagement, pride in Filipino cultural heritage and love of country are
developed and nurtured. In order to comprehensively implement all the responsibilities and duties of the agencies, they must
all cooperate and work with one another. The agencies are all connected and share a common main purpose which is to
preserve and promote Philippine culture and arts and ensure a nationwide participation in the part of Filipino citizens.
Therefore, I believe that it would be unjustifiable and wrong to remove even one of the aforementioned agencies, because they
are all necessary to us and our country.

V. LESSON 2

Philippine Contemporary Art and Arts Promotion and Preservation

PERFORMANCE STANDARDS
The learner creates avenues to advocate the arts from the different regions.

What Do You Need To Know?

 Philippine Educational Theater Association(PETA)- promotes the transformative power of theater through its
production of performances and workshops.

Philippine Educational Theater Association (PETA) is a theatrical association of artists and educators. It is the UNESCO-
International Theater Institute Center in the Philippines. It is a non-profit, non-stock, non-governmental, and a
registered done institution. It was awarded the Ramon Magsaysay Award in 2017.
In April 7, 1967, Cecile Guidote-Alvarez established the Philippine Educational Theater Association (PETA) who meant the
organization to be a vehicle for Philippine Theater to play a role in the development of the country's people and society. Four
years later in 1971, PETA was named the UNESCO-International Theater Institute Center in the Philippines. In the same year,
coinciding with the 400th foundation anniversary of Manila, PETA organized the first Third World Theater Festival.

 National Commission for Culture and the Arts (NCCA)- overall governing body, coordinating and grans giving for the
preservation, development and promotion of Philippine arts and culture.

National Commission for Culture and the Arts

The National Commission for Culture and the Arts of the Philippines (Filipino: Pambansang Komisyon para sa Kultura at mga
Sining, Cebuano: Nasodnong Komisyon alang sa Budaya ug mga Arte) is the official government agency for culture in the
Philippines. It is the overall policy making body, coordinating, and grants giving agency for the preservation, development and
promotion of Philippine arts and culture; an executing agency for the policies it formulates; and task to administering the
National Endowment Fund for Culture and the Arts (NEFCA) – fund exclusively for the implementation of culture and arts
programs and projects.
The successful overthrow of the dictatorship in 1986 through the People Power Revolution inspired the different sectors of
society to rally behind the new government towards the restoration of democracy. On March 12, 1986, the Alliance of Artists
for the Creation of a Ministry of Culture (AACMC) drafted and adopted a proposal for the establishment of a Ministry of Culture.
The group cited the inability of the Ministry of Education, Culture, and Sports to devote time and attention to cultural planning
due to the gargantuan task of addressing the problems of the educational system.
President Corazon Aquino responded by issuing Executive Order 118 on January 30, 1987 which established the Presidential
Commission on Culture and the Arts (PCCA). It was a diminutive agency compared to the proposal of AACMC but the said order
was cognizant of the existence of specialized cultural agencies and that these should only be placed under the umbrella of one
agency to coordinate their efforts.
The establishment of the NCCA prompted the cultural agencies that were attached to it, by virtue of the same law, to review its
existing mandates and programs to harmonize the delivery of cultural services. CCP, for its part, transformed itself to become
the national coordinating center for the performing arts. It also sought to remove its “elitist” image by strengthening its
outreach programs and developing partnerships with local arts councils

 Cultural Center of the Philippines (CCP)-premier venue in the Philippines for culture and the arts.

The Cultural Center of the Philippines Complex, also known as the CCP Complex, is an 88-hectare (220-acre) reclaimed
property owned by the Cultural Center of the Philippines (CCP) located along Roxas Boulevard in Metro Manila, the Philippines.
It is a mixed-use cultural and tourism hub overlooking the Manila Bay in south-central Manila, most of which fall under the
jurisdiction of the city of Pasay.
Development of the complex was stalled until 2000, when the Philippine Supreme Court ruled with finality the CCP's ownership
of some 35 hectares (86 acres) of prime real estate in the complex. The property is 62.4 hectares (154 acres) of land, with the
rest being occupied by the Government Service Insurance System, the Bangko Sentral ng Pilipinas, and the Privatization and
Management Office. It is part of Bay City (formerly Boulevard 2000) that spans 1,500 hectares (3,700 acres) of reclaimed land
along Manila Bay which is occupied by the SM Central Business Park, Philippine National Bank's Financial Center Area, Aseana
City, and PAGCOR's Entertainment City, among others.
The complex is bounded by the Manila Bay to the north and west, the Philippine Navy headquarters to the northeast, Roxas
Boulevard to the east, and Jose Diokno Boulevard to the south. It is divided into two zones: the Art Zone, and the Commercial
and Entertainment Zone.[2] It features several brutalist structures designed in the 1960s and 1970s by Leandro Locsin, such as
the Tanghalang Pambansa, the Philippine International Convention Center, and the Sofitel Philippine Plaza Manila. Other
locators in the complex include the Coconut Palace, the Manila Film Center and Star City amusement park.
  National Historical Commission of the Philippines (NHCP)-promoting “Philippine history and cultural heritage through
research, dissemination, conservation, sites management and herald works.”

The National Historical Commission of the Philippines (NHCP) was created in 1972 initially as the National Historical
Institute to integrate the diverse functions of various historical agencies. NHCP now, by virtue of R.A.10086, is responsible for
the conservation and preservation of the country’s historical legacies. Its major thrusts encompass an ambitious cultural
program on  historical studies, curatorial works, architectural conservation, Philippine heraldry, historical information
dissemination activities, restoration and preservation of relics and memorabilia of heroes and other renowned Filipinos.

Image credit: Ramon F. Velasquez via Wikimedia Commons

The NHCP continues to undertake the commemoration of significant events and personages in Philippine history and safeguard
the blazoning of the national government and its political divisions and instrumentalities.

 National Museum of the Philippines- the main task is to solicit, document, preserve, exhibit and promote the natural
and artificial wonders of the Philippines.

The National Museum of the Philippines (Filipino: Pambansang Museo ng Pilipinas) is an umbrella government organization

that oversees a number of national museums in the Philippines including ethnographic, anthropological, archaeological and
visual arts collections. Since 1998, the National Museum has been the regulatory and enforcement agency of the  Government
of the Philippines in the restoring and safeguarding of important cultural properties, sites, and reservations throughout the
Philippines.
The National Museum operates the National Museum of Fine Arts, National Museum of Anthropology, National Museum of
Natural History, and National Planetarium, all located in the National Museum Complex in Manila. The institution also operates
branch museums throughout the country.
he first predecessor to today's National Museum was the Insular Museum of Ethnology, Natural History, and Commerce under
the Department of Public Instruction, created in 1901 by the Philippine Commission. In 1903, the Museum was subsequently
transferred to the Department of Interior and renamed the Bureau of Ethnological Survey. This new bureau was responsible for
the Philippine participation in the Louisiana Purchase Exposition of 1904. After the exposition, it was abolished as a separate
bureau and renamed the Philippine Museum.
The museum's structure again changed in 1933 when the Philippine Legislature divided the museum. The museum's Division of
Fine Arts and History went to the National Library. Its Division of Ethnology went to the Bureau of Science. Finally its Division of
Anthropology, which included archaeology, ethnography and physical anthropology, and the other sections of natural history of
the Bureau of Science, were organized into a National History Museum Division. This was transferred to the Office of the
Secretary of Agriculture and Commerce in 1939.
The Japanese occupation of the Philippines during World War II brought the divisions back under a single National Museum of
the Philippines, but the museum lost a large part of its collection during the Liberation of Manila when the Old Legislative
Building was destroyed by American artillery. The Legislative Building was immediately restored through the American funds
bringing the museum back to its operations.
Historic Marker of the Philippine National Museum
The museum's role in cultural growth was recognized as contributing to government's desire for national development. [3] In
1966, President Ferdinand Marcos signed Republic Act No. 4846 or the Cultural Properties and Protection Act. The law
designated the museum as the lead agency in the protection and preservation of the nation's cultural properties through the
conduct of census, study, and declaration of such properties and the monitoring and regulation of archaeological exploration,
excavation, or diggings in historical or archaeological sites. With its new powers, it was able to strengthen its cultural mandate
by declaring properties, structures, and sites of historical and cultural value to the nation. The educational mandate was
strengthened because it was able to inform the public of the researches it conducted and through the acquisition and exhibition
of archaeological finds.
In 2019, the powers of the National Museum were further expanded through Republic Act No. 11333 which was signed into law
by President Rodrigo Duterte. Under the law the museum body's official name was lengthened to National Museum of the
Philippines from just being National Museum. It was also classified as a government trust attached to the government for only
budgetary reasons preserving a degree of independence and autonomy. It is also mandated to establish regional museums in
each of the country's administrative regions.
 National Library of the Philippines (NLP) – as a repository of the printed and recorded cultural heritage of the country
and other intellectual literary and information sources.

The National Library of the Philippines was established as the Museo-Biblioteca de Filipinas through the royal decree of August
12, 1887.

The Library was revived with the donation made by the American Circulating Library Association  of its Circulating Library to the
government formalized through Public Act No. 96 passed on March 5, 1901.

Public Law Act No. 1935, provided for the "the consolidation of all libraries  belonging to any branch of the Philippine
government for the creation of the Philippine Library", and for the maintenance of the same, and other purposes. To carry out
the provisions of this law, a Library Board was constituted consisting of the Secretary of the Public Instruction, the Secretary of
Interior, the Secretary of Finance and Justice, and the other members to be appointed annually by the Governor General.
 
In 1916, The Philippine Library, Division of Archives, Patents, Copyrights and Trademarks of the Executive Bureau and the Law
Library of the Philippine assembly were merged into one entity, called the Philippine Library and Museum. Twelve years later,
the Philippine Legislature separated the museum from the library. Public Law No. 3477 (1928) established the National Museum
under the Department of Agriculture and Natural Resources and changed the name of the Philippine Library and Museum to
The National Library.
 

The President of the Philippines changed the name of The National Library to Bureau of Public Libraries in accordance with
Executive Order No. 94, series 1947. This order was followed by Republic Act No. 411, otherwise known as the Municipal
Libraries Law, authored by the then Senator Geronima T. Pecson. Republic Act No. 3873 passed in 1964 brought back to the
Bureau of Public Libraries its old name, The National Library. Currently, the library is known as the National Library of the
Philippines (NLP) pursuant to Republic Act No. 10087 enacted in May 13, 2010. The NLP is located at T.M. Kalaw Street, Manila.
  National Archives of the Philippines stipulated the relinquishment or cession of documents from Spanish to American
authorities and provided for the preservation of documents.

The National Archives of the Philippines (Filipino: Pambansang Sinupan ng Pilipinas and abbreviated NAP) is an agency of

the Republic of the Philippines mandated to collect, store, preserve and make available archival records of the Government and
other primary sources pertaining to the history and development of the country. It is the primary  records management agency,
tasked to formulate and implement the records schedule and vital records protection programs for the government. The
Archives, as it is organized today, was a result of the passage of Republic Act 9470 in 2007, but its roots can be traced back to at
least the 19th Century during the Spanish colonial government.[1]
The nucleus of the institution began as the Division of Archives, set up under the Spanish colonial government. Before that
time, the vast majority of the colonial records were scattered among the islands and held in mostly religious centers of the
Catholic Church.[2] However, in 1898, Spain ceded control of the Philippines to the United States of America through the  Treaty
of Paris. Article VIII of the treaty authorized Philippine records in the islands and in Spain to be under the new stewardship of
the American government.[2] As a result, the Office of Archives was officially established. The Americans appointed a "keeper of
the Spanish Archive," who acted, essentially, as the director of the archive. [2] This was an important position since the Archives
was placed under the control of various government agencies. First, it was placed under the Executive Bureau in 1901. Within
the same year, it moved to the Department of Public Instruction. In 1915, it was transferred back to the Executive Bureau and
was reduced to the Division of Archives, Patents, Copyrights, and Trademarks. The following year, this division was consolidated
with the Philippine Library and Museum. In 1928, it became the Division of Archives under the renamed National Library. [3]
During the post-war period, the Archive transferred from the National Library to the Department of General Services. In 1958,
President Carlos Garcia issued Executive Order no. 290 establishing the Bureau of Records Management under the said
department.[4] The Archive's responsibilities included to plan, develop, and coordinate government-wide programs, policies,
rules, and regulations governing the use, storage, and disposition of current operating records of permanent or historical value.
The department was composed of three divisions namely the Current Records Division, the Archives Division, and the Records
Storage Division. It was the Archives Division which stored and rehabilitated records of permanent value and of historical
interest.
The Bureau’s international linkages for the period were very much limited. Since it was within the American-patterned
Department of General Services, its trainings were provided by the US Agency for International Development-National
Economic Council. Three of its personnel were trained by UNESCO reprography expert Ramunajan Chari in 1968 on microfilming
and archival documents reproduction through a mobile microfilm unit. [5] The Bureau was represented by its director, historian
Domingo Abella, in the International Council of Archives and its Southeast Asian Branch (SARBICA).
The Archive was elevated from a bureau to an office in 1972, with the establishment of the Records Management and Archives
Office (RMAO), which was placed under the General Administrative Administration. Since 1998, it was placed under
the National Commission for Culture and the Arts for purposes of policy coordination. On May 21, 2007, more than a century
since its establishment, President Gloria Macapagal-Arroyo signed Republic Act 9470 that defined the various functions of the
agency and formally renamed it to become the country's National Archives.
In 2004, then Director Ricardo Manapat was accused of forging documents to support a disqualification case against
presidential candidate Fernando Poe, Jr. [6] Three staff members of the Archives testified in a Senate inquiry that the Director
had ordered them to fabricate a birth certificate to indicate that Poe was not a natural-born Filipino citizen. Manapat was
cleared of the charges by the Sandiganbayan (a special court in the Philippines) in 2005, but he had been on leave shortly
before the Senate investigation started a year earlier.[7]
On May 28, 2018, the building caught fire from a blaze that began at midnight nearby at the Land Management Bureau Building
in Plaza Cervantes.[8] Two people were injured, but none of the holdings from the archive were harmed. [9]
 Komisyon saWikang Filipino- shall establish a national language commission composed of representatives of various
regions and disciplines which shall undertake, coordinate and promote researches for the development, propagation
and preservation of Filipino and other Philippine languages.
 Komisyon sa Wikang Filipino (lit. 'Commission on the Filipino Language') is the official regulating body of the Filipino language and the
official government institution tasked with developing, preserving, and promoting the various local Philippine languages.The commission was
established in accordance with the 1987 Constitution of the Philippines.
Established by Republic Act No. 7104 of 1991, the commission is a replacement for the Linangan ng mga Wika sa Pilipinas (LWP) that was set up in
1987 which was a replacement of the older Surian ng Wikang Pambansa (SWP), established in 1937 as the first government agency to foster the
development of a Philippine national language.
The 1st National Assembly of the Philippines passed Commonwealth Act No. 184, s. 1936, establishing an Institute of National Language (Surian ng
Wikang Pambansa). On January 12, 1937, Former President Manuel Luis Quezón y Molina appointed the members to compose the INL. By virtue of
Executive Order No. 134 issued and signed by President Quezón on December 30, 1937, approved the adoption of Tagalog as the basis of the
national language, and declared and proclaimed the national language based on Tagalog, as the national language of the Philippines. In 1938, the
INL was dissolved and replaced with the National Language Institute. Its purpose was to prepare for the nationwide teaching of the  Tagalog-based
national language (Wikang Pambansa na batay sa Tagalog) by creating a dictionary and a grammar book with a standardized orthography. In the
School Year of 1940-41, the teaching of the national language (Wikang Pambansa), with its new standardized orthography, was set by law in the
fourth year of all high schools in both public and private schools throughout the country.  The Tagalog-based national language was taught in school
only as one of the subject areas in 1940 but was not adapted as the medium of instruction.
During the Second World War, the Japanese occupiers encouraged the use of the national language rather than English in the schools. The Tagalog-
based national language was, therefore, propagated not only in education but also in mass media and in official communication. The census for
1948 reported that 7,126,913 people or 37.11% of the population spoke the language, representing an increase of 11.7% from the 1939 figure of
4,068,565. Of these seven million people, 47.7% learnt it as a second language.
The current commission was established by Republic Act No. 7104 of 1991, replacing the Institute of Philippine Languages (IPL) that was previously
set up in January 1987 (Executive Order No. 117); itself, a replacement of the older Institute of National Language (INL), established in 1937.
In October 2018, the KWF announced in its newsletter Diyaryo Filipino (Filipino Newspaper) its bringing online a National Dictionary in compliance
with the commission's National Orthography of 2013: Diksiyonaryo. According to the same October 2018 newsletter, also in the works (in
experimental and pilot-testing stage) is an official spellcheck in accordance with the Ortograpiyang Pambansa (National Orthography) and
the Manwal sa Masinop na Pagsulat (Manual to Provident/Neat/Careful Writing).
The Philippines is one of the most linguistically diverse countries in the world. With 175 distinct native languages (sometimes incorrectly
termed dialects), it has about 3% of the world’s languages, yet only 0.2% of Earth’s land area, making the Philippines 15 times more diverse than
average in terms of language diversity.
Ethnologue, a compendium of world languages, notes that 28 Philippine languages are in trouble, up from 13 in 2016. Eleven languages are dying,
and several are already extinct. The Living Tongues Institute for Endangered Languages has identified the Philippines as being one of the top
10 “language hotspots” of the world, which means that the Philippines has a wealth of languages but such languages are being lost at a rate faster
than those languages can be documented properly.
Ethnologue’s estimates are conservative, as many linguists have noted that many endangered languages in the Philippines. All 32 Negrito languages
of the Philippines are endangered (Headland, 2003), and the Komisyon sa Wikang Filipino has identified approximately 50 endangered languages.

Endangered Filipino Languages List

A 2015 study by the Commission updated the list of endangered languages in the Philippines. The Commission noted that there are 37 languages in
the country that are now endangered, mostly Aeta languages in Luzon and Visayas, notably Negros Occidental. The Kinarol-an language Barangay
Carol-an, Kabankalan, Negros Occidental was considered as extinct as it was no longer being used in casual conversations. The study also noted that
the Inagtâ Isaróg language of Goa, Ocampo and Tigaon in Camarines Sur had only one remaining speaker in 2015.
The Árta language of Nagtipunan, Quirino is considered nearly extinct as only 11 persons are speaking the language. Languages that are moribund
(near extinction) include: the Inatá language of Cadiz City, Negros Occidental; Álta language of Aurora, Nueva Ecija; and Ayta Magbukun
language of Abucay, Bataan. The Ayta Magbukun has at least 114 practicing families, while the others range from only 29 to 113 persons.
Meanwhile, the threatened languages with more than a thousand speakers remaining are Álta Kabulowán of Gabaldon, Nueva Ecija; Ayta Mag-Indí
of Pampanga and Zambales; and Gubatnón Mangyán of Magsaysay, Occidental Mindoro.
Those that have lessening usage include Inagta Irayá of Buhi, Camarines Sur; Binaták of Palawan; Manidé of Camarines Norte; Ayta Kadí of
Quezon Province; Ayta Ambalá of Zambales and Bataan; Ayta Mag-antsi of Tarlac, Nueva Ecija, and Zambales; Ténap (Agta Dupaningan) of
Cagayan and Isabela; Bolinaw of Pangasinan; Agta Dumagat Casiguran of Isabela and Aurora; and Agtâ Dumagat Umíray of Quezon Province.
Bibliography/reference:Contemporary Arts From The Region Of Philippines book and www.Google.com

Module Content:

Lesson 3: National Artists of the Philippines for Music and Dances

LEARNING OUTCOME/COMPETENCIES
 Promote the different artworks and art forms found in the Philippines
 Identify the National Artists of Music and Dance
 Appreciate the efforts of individuals in pursuit of the development of arts.
 Explain the valuable contributions of these national artists in the development of Philippine music and dance.

VI. Introduction: (This is usually called preliminaries to be done by the teacher before starting the lesson
proper. The teacher should be the expert player on how to introduce the topic.)

National Artists of the Philippines for Music and Dances- The order of the highest state honor is conferred on
individuals deemed as having done much for their artistic field. Deserving individuals must have been
recommended by both the Cultural Center and the National Commission for Culture and the Arts prior to
receiving the award. Such people are then titled, by virtue of a Presidential Proclamation, as National
Artist (Filipino: Gawad Pambansang Alagad ng Sining), and are inducted into the Order.

VII. LESSON 3
National Artists of the Philippines for Music and Dances

PERFORMANCE STANDARDS

The learner creates avenues to advocate the arts from the different regions.

What Do You Need To Know?

The teacher will assign the learners with topics to be reported in front.
National Artist in Music

The Order of National Artists of the Philippines (Filipino: Orden ng mga Pambansang Alagad ng Sining

ng Pilipinas) is an order bestowed by the Philippines on Filipinos who have made significant contributions to
the development of Philippine art. Members of the Order are known as National Artists. Originally instituted
as an award, it was elevated to the status of an order in 2003.
The Order is administered by the Cultural Center of the Philippines by virtue of President Ferdinand Marcos's
Proclamation № 1001 of April 2, 1972 and the National Commission for Culture and the Arts. The first award
was posthumously conferred on Filipino painter Fernando Amorsolo.
However, National Artists have since been honored under new categories. The NCCA created the category of
National Artist for Fashion Design when it nominated Ramon Valera, but subsumed that category under
"Architecture, Design and Allied Arts". President Fidel V. Ramos issued an executive order creating the
category of National Artist for Historical Literature before conferring the honor to Carlos Quirino

 Music – singing, composition, direction, and/or performance;

 Dance – choreography, direction and/or performance;
 Theater – direction, performance and/or production design;
 Contemporary Arts – painting, sculpture, printmaking, photography, installation art, mixed media works,
illustration, graphic arts, performance art and/or imaging;
 Literature – poetry, fiction, essay, playwriting, journalism and/or literary criticism;
 Film and Broadcasting/Broadcast Arts – direction, writing, production design, cinematography, editing,
camera work, and/or performance; and
 Architecture, Design and Allied Arts – architecture design, interior design, industrial arts design, landscape
architecture and fashion design.

7. Music

1. Levi Celério
2. Ernani Joson Cuenco
3. Felipe Padilla de León
4. Francisco Feliciano
5. Lucrecia R. Kasilag
6. José Maceda
7. Antonio J. Molina
8. Lucio D. San Pedro
9. Ramón Santos
10. Andrea O. Veneración
11. Antonio R. Buenaventura
12. Jovita Fuentes
13. Ryan Cayabyab
8. Dance

1. Francisca Reyes Aquino 4. Ramón Obusan

2. Amelia Lapeña Bonifacio 5. Alice Reyes
3. Leonor Orosa-Goquingco 6. Lucrecia Reyes Úrtula

1. Antonino R. Buenaventura- a musical career’ that spanned

seven decades of unwavering commitment to advancing the
frontiers of Philippine Music.

2. Jose Maceda- was a highly

acclaimed Filipino composer and ethnomusicologist.

3. LucresiaR. Kusilag- renowned Filipino composer.

4. Ernani J. Cuenco- had an

outstanding and memorable body of works that resonates
with the Filipino sense of musicality and whichembodies an
ingenious voice that raises the aesthetic dimensions of
contemporary Filipino music.

5. Lucio San Pedro- an educator, master conductor,

national artist .

6. Antonio J. Molina- was a multitalented musician,

writer and music educator.

7. Francisco Feliciano- a prolific composer of over 30

major works.

8. Levi Celerio- was a highly talented lyricist,

with more than 4000 songs under his name.

9. Ramon Santos- music highlights Asia’s and Philippines’

rich artistic tradition and features elements from western
and non-western areas.
 10. Jovita Fuentes- given the honor of first female
National Artist for music

11. Felipe Padilla de Leon- is multitalented musician who

was a composer, conductor and a scholar.

12. Andrea Veneracion-

founded the Madrigal Singers.

National Artist for Dance

13. Francisca R. Aquino- was a Filipino folk dancer and academic noted
for her research on Philippine folk dance. She is a recipient of the
Republic Award of Merit and the Ramon Magsaysay Award and is a
designated National Artist of the Philippines for Dance.

14. Ramon Obusan- was a Filipino dancer, choreographer,

stage designer and artistic director. Obusan is credited for
his work in promoting Philippine traditional dance and
cultural work. He is also an acclaimed archivist, researcher
and documentary filmmaker who focused on Philippine
culture.

15. Alice Reyes- is a Filipina dancer, choreographer, teacher,

director and producer. The organizer of Ballet Philippines, she
received last June 20, 2014 from President Aquino the highest
award in the Arts, National Artist of the Philippines.

16. Leonor O. Goquinco- was a Filipino national artist in

creative dance. She played the piano, drew art, designed
scenery and costumes, sculpted, acted, directed, danced
and choreographed.

17. Lucrecia Reyes-Urtula- was a

Filipino choreographer, theater director, teacher, author, and a
researcher on ethnic dance. She was the founding director of the
Bayanihan Philippine National Folk Dance Company and was
named National Artist of the Philippines for dance in 1988. 
 CONTEMPORARY ARTS FROM THE REGION OF PHILPPINES
Self-Learning Activity 1, 2 and 3

Name:__________________________________Year/
Section:_______________________Date:________
Self-Learning Activity 1:
Directions: Write your thoughts.
1. How can you promote Filipino Artwork to others?
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
_________________________________________________________________.
2. What is a contemporary art in own definition and your understanding?
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
__________________________________________________________.

Self-Learning Activity 2:
3. How important is preserving the different art forms in the Philippines?
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
_______________________________________________________________.
4. Why do we need to promote the artworks in the Philippines?
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
__________________________________________________________________.

Self-Learning Activity 3:
Instruction: fine and connect the correct answer.

1. Music  o a. Singing, composition, direction, and/or

performance;
2.Dance  o b. choreography, direction and/or
performance;
3.Theater  o c. direction, performance and/or
production design;
4.Contemporary Arts o d. Painting, sculpture, printmaking,
photography, ect.
5.Film and Broadcasting/Broadcast Arts  o e. direction, writing, production design,
Architecture,
6.Design and Allied Arts  o f. architecture design, interior design,
industrial arts design,