Lesson 1: Gawad sa Manlilikhang Bayan I

How does tradition become contemporary, and the contemporary tradition?

Teofilo Garcia was awarded in the year 2012. He is a farmer from San Quintin, Abra
Province, who is renowned for contributing to a piece of property filled with enlarged upo or gourd.
He would turn the crop into sturdy hats for protecting people, particularly farmers who
wereexposed to the sun for lengthy stretches of time. Gourds are planted in November and
harvested in summer, between March and May.
Each tabungaw (in Ilokano), is shelled out, brushed, and lacquered, giving the tabungaw
helmet its signature yellow sheen. The coating also protects the raw component so that it can
withstand the elements of weather. Short rattan or uway sheets are knit into the helmet's lining.
Another weave, which is usually made up of fern or nito, is mounted on the top's muzzle as an
ornament.
The interiors of the tabungaw are gouged with gentle circular instruments. Garcia wasa key
figure in strengthening the custom over the course of sixty years of consistent experience. He is a
cultural carrier because of his creative representation of a practical material, devotion to design,
and contribution to the environment. In recent years, he began teaching children at San Quintin
National High School on how to make tabungaw hats, instilling in them a sense of pride in the
custom and a desire to see it preserved.

The difference between modern and contemporary art is a historical, cultural, and aesthetic
one, as we discussed in previous lessons. Centered on Teofilo Garcia, we reiterate that Philippine
art movement was and still is modern in the context that it is content that is being produced today
and that it continues as something of the broader reproduction of heritage, despite being based on
lengthy, existing traditions. Traditional artists do not deem their artwork as a contemporary art
form, but it does have certain comparisons to conceptual art practices. Producing tabungaw hats,
for instance, necessitates the integration of traditional technical credentials and design. The
development of expanded tabungaw is achieved subsequent to constructing the cap by
procedures that control the interrelationship of crop, soil, and environmental phenomena over a
set period of time.

What is the Gawad ng Manlilikhang Bayan (GAMABA)?

Garcia is designated as a National Living Treasure, or Manlilikhang Bayan (“someone who

creates for the nation”). First, from the moment the honor was established in 1992 by Republic Act
No. 7355 through 2012, 13 individuals have won this award. The National Commission for Culture
and the Arts (NCCA) provides the greatest cultural and artistic awards, such as the National Artist
Award, which we covered in the former section. These awards, like the GAMABA, honor
exceptional work by acclaimed artists.
Traditional art is focused on the traditions of indigenous communities that are primarily
honed by oral tradition. The focus on the intangible and communal aspects of art-making, which is
loosely associated with the pattern and collective orientation of some conceptual art traditions, is a
unique characteristic of the GAMABA. Culture, environment, community, ceremony and
spirituality, and everyday life all have profound inclinations with art history.
Forms and expressions usually do not turn out to be objects separate from the everyday life
of traditional integrative art. The dissemination and transfer of knowledge are not in the official
spaces of museums or theatres. The creative process is usually shared between community
members and it calls for wider life aspects. Things like textiles, hats, baskets, and utensils are
commonplace, usually found and used in the homes of people. As a part of the tradition, music
and dance are practiced in groups to reinforce ethnic affiliation or feeling of connection.
Who are the GAMABA awardees?
Form
Form Award Nationality/ Type of Art Form
period background
Lang Dulay T’boli / Lake Sebu, South tinalak
1998 Cotabato, Mindanao, southern fabric
Philippines
Salinta Monon Tagabawa Bagobo / Bansalan, inabal
1998 Davao del Sur, southeastern fabric
Mindanao island, southern
WEAVING Philippines
Darhata Sawabi Tausug / Parang, Sulu, pis siyabit
(d. 2005) 2004 southern Philippines fabric
Haja Amina Appi Sama / Tandubas, Tawi- Tawi, mat fabric
(d. 2013) southern Philippines
2004
Magdalena Ilocano / Pinili, Ilocos Norte, inabel fabric
Gamayo northern Luzon
2012 island, northern Philippines

Ginaw Bilog Hanunoo Mangyan / surat Mangyan and

(d. 2003) Mansalay, Oriental Mindoro, ambahan poem writing
1993 central Philippines
Masino Intaray Pala’wan / Brookes Point, Poems composed of
1993 Palawan island, central rhythms (kulilal, basal,
Philippines and bagit) epic singing and
narrative; and performing
LITERATURE their associated devices
and Samaon Sulaiman Maguindanao / Mama sa Kudyapi
PERFORMING (d. 2011) Pano, Maguindanao, music
ARTS 1993 western Mindanao island,
southern Philippines
Alonzo Saclag Kalinga / Lubuagan, choreography rhythms
2000 Kalinga, northern Luzon and gestures connected with
Island, northern Philippines ceremonies; operating
Kalinga music
equipment
Federico Caballero Sulod Bukidnon / Calinog, Chanting the sugidanon epic
2000 Iloilo, Panay Island, of
middle Philippines Panay Bukidnon
Uwang Ahadas Yakan / Lamitan, Basilan Playing Yakanmusical
2000 island, southern Philippines instruments
Eduardo Mutuc Kapampangan/ Apalit, Silver plating of religious and
2004 Pampanga central Luzon secular
island, northern Philippines art
PLASTIC
ARTS Teofilo Garcia Ilocano/ San Quintin, Abra Gourd casque making
2012 northern Luzon island,
northern Philippines

National living
Lesson 2: Gawad sa Manlilikhang Bayan II

The Production Process and the Changing Environment

The traditional artists' style of art production is continuously affected by the drivers of
change. The native communities are displaced from traditional native land due to natural
destruction brought about by natural disasters, globalization, and corporatist endeavors. It is of
greatest priority to them because it is the location in which the assets are collected and
exchanged, as well as where the community is practiced. The artist’s production process is
affected by the following factors.

1. Tourism and its attractions – Ordinary land is transformed into tourist destinations. With
the combined forces of environmental hazards and tourist mobility, the environmental
domain appears more vulnerable to damage. Dances and rituals were carried out to
impress the outside audience rather than for the population's traditional adherence. Locally
produced art tends to deteriorate in value.
The plays are turned into over-performed keepsakes once they have been separated
from their initial background in order to meet the customers of the tourism industry. In
recent days, Neon colors, patterns, and designs crafted from synthetic fibers have been
made accessible to establish industrial allocations of conventional textile designs.

2. Mining and projects based on infrastructure – Reservoirs are built and metals and
gas corporations are formed, displacing citizens and causing significant environmental
harm. Native communities, robbed of their village's wealth, are compelled to pursue short-
term employment in the industry in order to make ends meet in a market economy.

3. Militarization – Militarized zones block the artistic creation done by the people which
creates tension and insecurity among the people. This impedes the passing of knowledge
as well as communal gatherings.

4. Conversion to Christianity – The majority of people have abandoned their native

religious practices and customs due to the effects of Christianity and colonists transition to
a different culture. In the worst-case scenario, citizens are prompted to assume that the
latter is primitive and thus their practice has no place in contemporary culture. In certain
cases, society discovers a reason to combine their traditional aspects with religious faith.
As Christian converts, the Manobo group of Mt. Apo, for instance, started a "culture
regeneration movement" to revive their rituals by conducting clan gatherings, using
indigenous marriage ceremonies, and remembering cultural stories through painting.

Difficulties in the Selection Process

Because of the Philippines' archipelagic nature, some areas are difficult to access by land,
air or water. Places that present a potential threat, especially militarized areas, discourage
researchers from staying for long periods of time and can reduce their acceptance beyond the
area. This is one of the reasons why, as the section on year after establishment in the panel of
GAMABA awardees indicates, the selection does not adopt a usual process.
The award-providing panel is charged with an incredibly important and hard challenge of
becoming important, open, and sensible in the GAMABA systems, from recruitment to honoring
and onward via the social staff.

Effect of the GAMABA in the communities

Because artists are deeply rooted in their cultures, the awarding process can cause discord
among them when one individual is elevated to the level of a national awardee. The emergence of
foreigners and their focus can cause a disturbance, altering not just socioeconomic interactions,
but also social views, principles, and meanings of art forms and types.

UNIT 6: Different Contemporary Art Techniques and Performance Practices

Lesson 1: Materials in Contemporary Arts

Mediums or materials are more than mere physical things used by artists to create art;
these are often carriers of concepts and information from individuals and locations, which can be
interpreted in practical and intuitive forms for viewers seeing the artwork.
Artists typically use materials that are readily accessible to them. This shows that the tools
present in their community are critical to their artistic work. The term local may correspond to
widely accessible materials such as certain types of wood or textiles in one’s region. It may also
apply to the artist's current location.

Diokno Pasilan, a neo-ethnic musician, visual artist, and former art director from Negros, defines
the term “local” as encompassing a variety of locations such as Palawan, Baguio, and Bicol,
where he lived for a long time, and recently in Victoria, Western Australia, where he
migrated. One important part of Pasilan’s process of creating art is taking the time to
connect with other people in his community and taking inspiration from their culture.
Going Fishing by Diokno Pasilan

Pasilan, for instance, raised awareness regarding the need to be more conscious of
our environment by coloring his skin green, the color of the environmental movement, in a
production for the Third Bagasbas Beach International Eco-Arts Festival held in the Bicol
region. He launched himself onto gongs attached to a bamboo structure, as bamboo is
readily accessible in communities of Bagasbas. Pasilan and other involved artists received
input and encouragement from these communities in order to prepare their presentation
and area-specific work on the Bagasbas shoreline.

Digital Tagalog, a work created through the collaboration of Lani Maestro and Poklong
Anading, is another project that uses bamboo as a primary material. These creators are
known for constructing environments that engage the senses based on their study into the
dynamics of environments and cultures. Digital Tagalog was a 2012 exhibition at Mo
Gallery; it utilized stacks of bamboo to fill a room. They then used several computers to play
sound recordings inspired by indigenous Filipino music, many of which were influenced by
and obtained from Jose Maceda's digitized music clips (archived inside UP College of
Music Center for Ethnomusicology). The project was especially immersive because of its
simultaneous use of graphic and instrumental elements. The artists encourage viewers of
the exhibit to participate and create as well. Guests may create soundtracks that they may
listen to on their personal gadgets or play throughout the wider exhibition area. This wider
location enabled them to layer sound from the bamboo sticks over digitized audio chosen
by the musician-deejays working with the audio in the smaller room. Many artists make art
 not only by transforming physical objects such as wood but also by reinventing other art
forms such as music and dance.

One such artist is Agnes Locsin, a choreographer living in Davao, who redefined a part of
Marinduque's Moriones Holy Week festival using contemporary dance styles. The
Moriones tells the story of the Roman centurion Longino’s conversion to Christianity.
Longino was tasked to guard the dying Jesus, but Jesus restored his eyesight, and this act
led to his conversion. The work conceptualizes the tale through costumes (soldiers are
seen lacking complete masks, heavy armor, and weapons) and movements different from
their traditional depiction. It was presented in France (as Ballet Philippines' entry to the
Recontres Festival Du Danse) by professional male dancers moving to Serra Pelada by the
avant-garde musician, Philip Glass. To dramatize the soldiers' hunt for their fellow soldier
who escaped, the performers' bodies are dramatically bent, with flat feet, distorted poses,
and rhythmic combat motions. The dancers are well-trained enough to move and leap with
one another as a unit at one point, then move away and dance individually the next. The
performance combines the familiar and unfamiliar with basic lighting and visual effects.
Through this, the audience will find certain parts familiar, like the scene of the chase, but at
the same time, they are still seeing the tale from a new and different viewpoint.

Artists have founded their own organizations such as Project Space and DiscLab, which
support the creation, propagation, and delivery of art. Instead of being completely reliant on
the government as well as on corporations, these projects are essentially self-sufficient.
Artists collaborate and interact with others to gather information, exchange ideas, and even
share materials. In such organizations, the idea of the artist working solo no longer holds
true. Artists are increasingly becoming more open to reaching out to their viewers, who are
now an integral part of the artistic process, most notably in immersive projects.
Through the years and with the advent of technology, art has evolved. Artists now have the
opportunity to use technology in various ways to benefit their work. They not only use it for
doing research, but they also use it to showcase their art as well as build and maintain
relationships with their communities and audiences through various social media platforms.
It is also worth noting that in the aforementioned performances, the shift from one place to
the next plays a role in how art is received. There is a transformation, from the public and
private areas of Boac, Marinduque, to the stage in France, and the Cultural Center of the
Philippines. This change can also be noted in how the perception of art transforms when
the space it is in changes. For example, there is a difference between when one listens to
music on one’s own device and when one listens to it in a big room and shares the
experience with others, as was the case in Digital Tagalog. These changes in space and
how they affect art and its audience bring to mind the many possibilities and differences in
how people experience and perceive art.
Another illustration of this fusion is when the term “local” may refer to language, production,
and technique as well as how they can be utilized, how they can be utilized in translating
and transforming media or art from other countries in order to be more relatable to Filipinos.
One such example of this is Rody Vera’s
Ang Post Office, an adaptation of a children’s play originally written by the Indian writer
 Rabindranath Tagore and titled The Post Office. The story is about a dying Indian boy
who learns about the world through the people he interacts with over the course of just one
day. The adaptation was first staged at the Philippine Educational Theater Association
(PETA) Center, then later restaged at TXS, Xavier University in Cagayan de Oro. To make
the story relatable to the Filipino audience, the local adaptation made use of elements that
are distinctly Filipino such as taho (a sweet snack made of fresh soft tofu) and peddlers
selling sampaguita. Other changes included music performed by the Kilyawan Children’s
Choir, which is a mixture of Bengali and indigenous Filipino sound pegs, Ellen Ramos's
animation, and a spartan bamboo set, among many others.
Local materials may also apply to folk tales. Consider the performance of Fugtong: The Black
Dog by the community theater group Aanak di Kabiligan (Children of the Mountains), which
was made possible by the Cordillera Green Network. The play is based on a folk tale about
a family who is ostracized for choosing to keep Fugtong, their black dog, which is thought to
carry bad luck. In a way, the story could be interpreted as being about how people who are
different can be thought of by others as threatening or dangerous. Another interesting way
of looking at the story is that while it was introduced using a short English overview of the
plot, the play itself was performed in several languages, as performers from Ifugao, Mt.
Province, Kalinga, and Benguet spoke in Kalinga, Kankaney, Ilocano, and Ibaloi. This was
done on purpose to maintain the atmosphere of the story set in the Cordilleras. The
production of Fugtong was directed by Rey Angelo Aurelio, a theater artist who is also the
director of
Bakata: Battle of the Street Poets, a local community theater production featuring Smokey
Mountain-based youth as actors, dancers, and rappers. It was also pictured at the Tiu
Theater in May 2015. Aurelio collaborates with young people who are disadvantaged; they
hail from communities of informal settlers, have parents who are unemployed or
underemployed, do not have access to adequate healthcare, and do not have sustainable
opportunities for continued education, to name a few. Working with young people of this
background is one way for artists to be proactive by immersing themselves in the youth’s
communities and helping the youth learn more by sharing their knowledge about the
performing arts. Working with these youngsters and encouraging them to engage in
creative expression does not solve their complicated issues, but it may help them develop a
stronger sense of self as they evaluate and convey their feelings and ideas.
Keep in mind that what has been discussed so far is performance art, works showcased live in
front of an audience. In this type of art, the connection that the artists are able to create
through their bodies and movement greatly affects how their art is perceived and received
by the audience. Elements of light, sound, and motion would not only be experienced up
close, but would also be accompanied by instantaneous reactions and feedback from the
audience such as cheers, claps, silence, transfixed gazes, and more.
To further illustrate how our senses affect the way we interpret art, let’s discuss Limen, a work
of art produced by Lani Maestro in France in 2014. Here, she carefully considered where
the piece would be shown, how audiences would find it relatable, and space’s history. The
area is called the Bata compound and was mainly used as an industrial site. Staff executed
mundane and monotonous tasks, which is the case in most mechanized factories. Because
of this, Maestro planned to construct a bridge that seemingly transported individuals to a
liminal point—the fringes of a garden. The work is true to its name, as Limen is a word that
 means the point at which a psychological effect starts to be felt, which is inevitable as the
piece creates a juxtaposition between the industrial and the natural. The artist intended for
the work to contrast with industrial space. The bridge was also constructed with no walls
nor clear starting and endpoints so that guests will find themselves drawn toward the
greenery. Since the base of the bridge is close to the ground, individuals may also sit on it
without having to be scared of falling off.
Even without knowing that Limen is meant to serve as a place where workers could relax, viewers
of the work still have the opportunity to physically experience it. Works like this are more
nuanced, and the meanings they take on are also a result of the viewers’ decision to
engage with the work. Thus, viewers have the opportunity to make the artwork a fuller and
richer experience.

Lesson 2: Traditional Techniques Applied to Contemporary Arts Creation

What is a medium?
The material or thing that is used to create a work is referred to as the medium. Artists use
these materials to articulate and convey their thoughts and emotions through their art.

The nature of the artwork is also determined by the medium, as described below:

Metal, wood, stone, concrete, glass, and clay are among the materials used by the sculptor.

Sculptures are classified as three-dimensional works since these take up space and have
volume. Pottery is also considered a form of sculpture. Other examples of sculptures are the bulul
wood carvings in the Cordillera, the carvings of saints in Christian churches, and Guillermo
Tolentino’s Oblation.

Another type of art that is considered three-dimensional is architecture. Like sculptures,

works of architecture take up space and have volume. However, because works of architecture
are structures that people live in, they are heavily influenced by time. Construction materials such
as wood, cement, stone, bricks, and bamboo are used by the architect.

To create paintings, a painter uses various types of paints such as acrylic, oil, watercolor,
and ink, among others. These paints are typically applied to a flat surface such as canvas, wood,
paper, or even walls.

The art of printmaking involves the use of ink, which is applied or deposited on a surface
using a tool that allows the printmaker to duplicate or reproduce a particular design. Such tools
include silk screens, wood blocks, and metal plates. Like paintings, prints are classified as two-
dimensional art.

Music is a form of art that is produced using instruments and sound, which also include the
human voice. Different types of music call for different instruments as well as different styles of
singing. For example, a pop music singer sings differently than an opera singer or a T'boli chanter.
 Dance involves the use of the dancer’s body and movements. While music is often used to
accompany dance, there are some dances that do not need it. Dances may be performed in order
to tell stories, but they can also express ideas that are not based on a story.

Theater is an art form that combines several types of media. For a theater production to be
executed well, elements such as set design, script, and stage direction should be cohesive to
enable the dance, visual, musical, and other components to form an integrated whole.

Both photography and filmmaking use the camera as their medium for creating art. With
a video camera, a filmmaker is able to document and piece together various scenes that can be
used to produce a movie. A photographer, on the other hand, may use either an analog camera or
a digital one. With digital photography, a computer may be used to view, enhance, and edit the
images, removing the need for negatives, photo paper or prints, and processing chemicals.

For producing works of literature, novelists, poets, and writers of fiction and nonfiction
works use words.

In design, performance art, and installation art, the artist works with a combination of the
materials and tools mentioned earlier.

In terms of the medium used, the arts can be categorized as practical, environmental,
pictorial, auditory, literary, theatrical, and musical. Musical arts encompass songs, poetry (those
with rhythm and involve song or dance), and dance that involves the use of music.

The practical arts are those that we use and encounter in daily life such as interior design,
furniture, and architecture.

Environmental arts, such as architecture, sculpture, as well as public art and installations,
are typically heavily reliant on the surroundings or space on which they will be built and take
inspiration from the materials that are already in the space.

Pictorial arts encompass graphic arts, drawings, paintings, as well as stage design. Arts
that are performed or filmed for viewing by an audience are called dramatic arts. These include
acting, theater, dance, and music.

Works that tell stories such as novels, fiction works, short stories, dramas, nonfiction, and
even some types of songs and dances, are narrative arts

As mentioned in the first unit, each of these types of art does not have to be independent of
the other types. A work of art may be a mix of two or even more types of art; this is called
combined arts. Combined arts include performance art, theater, design, mixed media, film,
photography, and installations.

One example of combined arts is a ritual. Depending on what it is for, it may involve the use
of a sculpture of a god, and participants are likely to perform dances and chants, wear certain
clothes and accessories, and perform the ritual in a particular place that has been designed
specifically for it. In such instances, viewers are often encouraged to participate, becoming a part
of the art instead of merely onlookers.
 In contrast, the UP Chapel is in itself an artwork borne out of the collaboration of several
artists. Architect Leandro Locsin designed the structure of the chapel, while Napoleon Abueva is
the one who made the crucifix. On the floor of the chapel can be seen a mosaic, which is the work
of Arturo Luz. The stations of the cross are the work of Vicente Manansala and Ang Kiukok. The
chapel also served as the venue for a performance by National Artist Jose Maceda in 1968. He
created music that combined the use of instruments and native voices that sang a prayer in
Tagalog.

What is technique?

Technique refers to an artist’s usage of materials in order to create art in a way that
conveys the desired meaning in accordance with the artist’s own style. The technique is
determined by the unique style or essence of the material utilized. For example, fabrics can be
embroidered, inks can be blended together to create new colors, and clay can be molded.

Technique encompasses a wide range of tools and technology that vary from traditional like
carving, silkscreen, analog photography, and filmmaking to the contemporary such as digital
photography, digital filmmaking, music production, industrial design, and robotics

For instance, National Artist Carlos Francisco's mural Filipino Struggles through
History (1963) portrays Andres Bonifacio as the leader of the Revolution. Following the
expressionist modern style, it shows vigor and zeal by the use of line and colour. This art piece
contrasts with the creation of another National Artist, Guillermo Tolentino. In his work ‘The
Bonifacio Monument’, he used carving to give the effect of mass and volume. This helped him to
depict a life-like scene of the moment when Bonifacio stood before the scene of death pensively.
The portrait shows him exuding the poise and pride of a Neoclassical leader, even in the scene of
death.

How is art experienced and consumed?

When art is understood directly, it is considered to be an "artifact." It can be spatial

andstatic (e.g., a painting or building, or a novel), or time-based and in motion (e.g. live theatre or
movable sculptures).

The artwork experienced indirectly or via a medium such as a film or movie is said to be
"recorded" or documented. Some of its examples are performance documentaries, a snap of a
painting, a movie or music DVD or CD, or a novel read on tablets, iPads, or through applications
such as Kindle.

If we received a work of art in real time, we refer to it as a time-based artifact or

performance. Some of its examples are live performances and installations. A time-based artifact
is filmed and watched in real time but away from the place from where it is captured. A recorded
project, movie, show, or advertisement that is commonly viewed via an online platform like TV or
laptop screen is all instances.
 Also, we can use the work and experience of the artist Pablo Biglang-Awa through the
internet. We can also gain creative inspiration from the work of the late conceptual artist Roberto
Chabet. This artist helps give instructions on how to make a boat installation by clicking the line
http://vimeo.com/32026842. Similarly, the link http://vimeo.com/32026893 takes us to his
installation project on simulations of sitting, lying down, walking and sitting. Each video unreels
animated images that give us an insight into the finished work. The work of Roberto Chabet was
exhibited in 2012 in the López Museum.

Monitors were given as part of a Dime a Dozen, 2007 exhibition at the Lopez Museum, so
that visitors could communicate with Rizal via an account. They could add Rizal as a friend, send
him a message, or upload a photo or video to his profile. The aim was to use a digital tool to make
Rizal more available and not daunting by using automated technology.

In an installation by Gerry Tan, the use of a time recording system emphasizes on

interactivity. Similar to the bundy clock used by employees, the visitors have to log their entry and
exit times. This gives the data on the duration they spend in the exhibition.

How have contemporary artists expanded the range of mediums and techniques they utilize?

The artworks of contemporary artists are more process-oriented, location-specific,

interactive, and collaborative.

An example of this is The Secret Garden 2 (2010) by Mark Salvatus. This artwork was
specifically designed for a small room at the museum of Vargas. The location of this work adds
value to the experience of the viewers. This artwork is interactive as it allows only a peek into the
"secret garden". Essentially, the cooperation of the viewers is what makes the work a success.

Learning about the collaborative ways of an artwork helps us to understand it better. Mark
Salvatus worked with the prisoners in Quezon, South Luzon, his home province. The prisoners
secretly broke the prison rules and collected plastic spoons, forks and other objects, using which
the “secret garden” was made. In a way, the secret is held as the scene is not completely visible to
the audience. This may be unsatisfying for some, while enlightening for others who can appreciate
the novel and inspiring work created by the artist and the prisoners.

In the early works of Ikoy Ricio, the interactiveness of games is evident. In one of his
works, he printed several trump cards with pictures of car accidents in the Philippines. He
completed them with statistical data on body count and other information. He laid the trump cards
on a table with matching chairs and invited the viewers to “play” the morbid game. It also mocked
the commercial adoration of speed and excessive material possessions.

Maria Taniguchi is a Dumaguete artist who lives and works in Manila. In her work Untitled
(Mirrors), she used the conventional style of acrylic on canvas and the contemporary style of
abstraction. This was the hallmark of the Modern Art of the 20th century. Using these styles, she
gave her artwork a modern touch of meditation on form. The process of painting is a crucial mode
of creation and reception; it no longer remains only “pictorial”. It gives an idea that the artist
painted the canvas grid by grid, carefully and patiently. The painting and observing activities make
the process similar to meditation. This work of Maria Taniguchi is a Conceptual Performance that
can be site-specific, sculptural, and environmental. At the

Vargas Museum, this piece is a part of Echo Studies installation (2011). Another unit of
this installation is quite simple. It is a wall made up of a network of bricks that are only visible up
close. Set up in the West Wing of the museum, it sets a positive space in contrast to the door that
leads to the next hall. It is both a painting and a sculpture that communicates with the atmosphere
of the museum.

In Waiting (2012), by Felix Bacolor, he has converted an independent space at the

Museum of Modern Art and Design into a simulacrum (a 'false' representation that is not
necessarily 'original' but is replicated or recreated). It is set up as the waiting room of a terminal
with fixed metallic chairs and a digital clock that painstakingly logs the passage of time. This
installation allows the viewers to weave their stories of travel space, stuck between motion and
rest. It connects them with the atmosphere, dramatization and narration by being interactive and
site-specific.

Modern art combines form and process. It bridges the fields of art and science as well as
mediums and techniques. The artforms are a mix of modern and conventional styles, along with
electronic and digital techniques.

For example, Ian Carlo Jaucian takes inspiration from science and connects it with visual
art through different types of artworks. He created a line of robotics-based works. One of his works
is called “liquid robot”, which is triggered by music. He merged the principles of mechanics and
computers with conventional techniques and mediums to create artworks that present the question,
“What is it to be human?”

Anonymous Animals, an abstract creative item by Dumaguete based artists who

presented as excavators of exotic creatures they shaped out of earthenware procured from
surrounding areas, was shown in Mariyah Gallery in Dumaguete City in 2013. Cristina Taniguchi,
Michael Teves, Danilo Sollesta, Mark Valenzuela, and Benjie Ranada are the artists who
gathered scientific data (including the scientific and common animal names, taxonomy,
morphology, history etc.) for the animals they (actually made) "excavated". Along with the
documentation from “an embedded journalist” made by the photographer Hersley Ven Casero,
they displayed the terracotta animals as specimens. The curator, Flaudette May Datuin, wrote
fictional stories around these artists in the form of a journal or field notes. In addition to being part
of the exhibition, the project is also a performance and concept. It is inspired from the works of
Joan Fontcuberta and Pere Formiguera and their book Fauna (1999, Arte y Proyektos
Editoriales, SL, Seville, Spain). Although Fauna is the book-form inspiration, Anonymous Animals
is also virtually displayed at http://anonymousanimals.wordpress.com/

“Anonymous Animals' spans over the fields of art (terracotta sculpture), theatre, fiction
and photography, environmental and human research, and humanity. It is also a simulacrum—a
“fake” real—that creates a highly realistic (hyperreal) world that does not have a real equivalent.

The work is narrative, theatrical, graphic and natural all at the same time. It amalgamates
different mediums and defies classification. The exhibition of unidentified terracotta animals is
perceived as artifacts that can be logged and performed. The realistic virtual world that is also
authoritative (a scientific term) gives meaning to work that tests reality and various fields of study
such as archeology and biology.

UNIT 7: Contemporary Arts Production

Lesson 1: Acquired Skills Enhancement

Context means the condition of the environment which affects the work of art. This may
come in different aspects and may vary depending on different circumstances. The following may
be the contextual elements that affect the artwork.

The Artist

The background of the artist may affect the artwork that he creates. The culture, traditions,
economic status, gender, age, and other external factors may inspire the artist when it comes to
artistic production. To understand the relationship of the artist to the artwork, you may ask the
following questions:
● What is the socio-economic background of the artist?
● Where did the artist grow up?
● What cultural practices and traditions did the artist follow?
● What are the artist’s political beliefs?
● How did the artist become an artist?
● What techniques and practices is the artist known for?

The Environment

While one’s environment (be it the quiet nature or the busy city streets) can be a great
source of inspiration in creating an artwork, it may also be the very reason why the artwork is
created in the first place. For example, as your learned in the previous lessons, some indigenous
art pieces were created to imitate the natural phenomenon in their environment. To understand
this, the following questions may be asked:
● Does the artwork depict a natural phenomenon?
● Does it showcase environmental rituals?
● Does it imitate any environmental phenomenon?
● What elements in the artwork suggest that it is distinctly from its place of origin?

The Way of Life

Culture and tradition of the community may affect the work of art. Further, the value and
possible functions of the artwork may be the reason why it was created. You may ask the following
questions:
● What are the norms of the community where the artwork has come from?
● What is the role of the piece in the daily lives of the community?
● How did it impact the lives of the people in the community?
The Society

The current situation in the society may take part on why an artwork is created. It may
depict the current scenarios and even significant historical affairs. To draw connections between
society and art, you may ask the following questions:
● What was happening when the artwork was created?
● What are the political and societal realities during those times?
In line with these questions, it is also important to understand societal context in relation to
the standpoint of the artist. Therefore, you may also ask the question: how did these affairs
affect the artist and what was his stance on the issues?

The Audience

The perception of an artwork may also vary according to the outlook of the audience. This
may come from the image of the artwork and their depiction of the used technique and medium.
With that, it becomes important to ask the following questions:
● Who is the intended audience of the artwork?
● What is the artistic background of the audience?

Lesson 2: Integrated Arts Production

There are many different things to consider in putting up an art production. This may vary
according to the resources, type, and other things. In general, here are the 4Ms to consider:

Methods

Methods will determine the standard procedure of a production. This is the step by step
procedure of the production. This provides the structure or framework which will be its foundation.
We also call it the production plan. The method shall contain the following:

● Objectives or goals - the end result or the outcomes of the production

● Material - the main concept and/or storyline

● Procedures - the activities that need to be done

● Manpower assignment - the person assigned for a particular activity

● Target date of finish - the activity’s date of finish

Materials

This refers to the artwork to be produced and presented to the audience such as the script,
playwright, music, and choreography. A material must have a concept. A concept is the main idea,
message, context, or story that needs to be conveyed.

Machine

These are the materials, machines, or equipment to be used in the production. These may
refer to the physical materials in a production design such as the stage, lighting, sound systems,
or any technological medium.

Manpower

Manpower refers to the production team. Each will be assigned to specific activities in the
plan.

● Concept writers - creates and writes the storyline and/or script

● Researchers - researches to ensure a properly contextualized and well-informed production

● Director - the head of the production; the one whose vision manifests the most in the production

● Producers - produces machineries and manages the manpower

● Choreographers - produces the act and the motions in the storyline to be executed by the artists

● Performing artists - leads the roles in the storyline

● Crew - the associates in the production

Lesson 3: Production Planning

In order to properly execute a production, you have to go through a systematic and rigid
planning period. This involves many different tools and materials depending on the nature of your
production. In general, you must first plan out the basic details of the production,
namely:

Type of production (exhibit, concert, play, etc)

When coming up with a type of production, consider the 4Ms. Ensure that your methods is
fitting, your material can be best conveyed in the chosen type, your machineries are enough to
execute the production, and that your manpower has the skill set required for the selected type.

Title or name of production

 Your production name has to be catchy, memorable, and unique. Remember, you want to
compel an audience to view your artwork, and a generic title might not do the trick. Once you
come up with a name, research about it first before making it final to ensure that it does not have
negative associations and that it has not been overused in the past.

Venue or platform

The venue refers to the physical space where you will execute the production. This can be
a theatre, street corner, cafeteria, classroom, or similar places. When it is not necessary to
execute your production in a physical place, then you still have to consider a platform. A platform
can be social media sites for digital productions, radio shows, or other avenues which you can use
so that your artwork reaches your target audience.

Target audience

The target audience refers to the demographic group which your production primarily
targets. Try to identify a specific target audience. For example, instead of saying you are targeting
students as your viewers, identify their grade range and name of or type of school. Moreover, you
also have to consider the audience’s quantity and capacity to ensure maximum participation or
viewership.

Date of implementation

Your implementation date must be realistic and must give you enough time for preparation.
It is suggested that you come up with a calendar of activities, marking milestones in your
production process, to ensure that you are on time and that the best quality is met. Remember, a
good production takes time and the process will require patience and diligence.

Resources

Your resources refer to manpower, machineries, and financial considerations. For

manpower, you have to make sure that the demand of the production fits the availability and
capacity of the people involved. For machines, you have to confirm the availability of the
necessary items such as lighting, design, props, and other things. If it is unavailable, then think of
ways in which your team can still produce these machines. Further, your resources are hugely
defined by your financial capacity. A lot of time in pre-production stage is ideally alloted to
fundraising.

You may raise funds through selling things or through finding sponsors who believe in your
production’s vision. While it may feel like putting up an art production is expensive, it does not
always have to be. Find ways to maximize available materials and cheapen the cost.

Objectives

Objectives refer to the goals you have for your production. Objectives have to be identified
before starting the production process. These will define what your production has to achieve in
order to be considered as successful.
Objectives must be written in infinitives (to + verb) and it must be SMART or specific, measurable,
attainable, relevant, and time bound.

● Specific - use concrete action verbs as opposed to abstract ones (i.e. the verb you use should
suggest specific actions on how to go about it)

● Measurable - identify quantifiable metrics

● Attainable - ensure that it is realistic and it can be attained given your resources

● Relevant - the objectives set must have significant impact to the production when achieved

● Time bound - identify specific points in time (or time period) when you have to meet a certain
objective

For example, consider the objective: to raise awareness on the subject matter of the play. This
objective is not SMART. First off, it is not clear as to how a “raised awareness” will be measured
(through an evaluation sheet, a survey, etc) nor is it clear as to what the subject matter is (people
may interpret a play differently). Further, it did not provide metrics so its attainability is not
knowable and is not time-bound.

A suggested revision may be: to raise awareness by 50% on breast cancer measured through a
post-event survey distributed at the end of the play. This objective meets all of the criteria
mentioned above.

After the implementation stage, your team should have an evaluation period. During then, discuss
the good and the bad parts of the production, and check what you have achieved side by side with
your objectives to see how much of the production is a success.