FORMS OF ART FROM

DIFFERENT REGION
C O N T E M P O R A RY A RT
MOVEMENTS AND
STYLES
D I R E C T I O N S : I D E N T I F Y W H AT M O V E M E N T A N D
S T Y L E O F C O N T E M P O R A R Y A R T WA S S H O W N I N
EACH PICTURE. WRITE YOUR ANSWER IN YOUR
A N S W E R S H E E T.
A C T I V I T Y:

• Directions: In 1/8 illustration board , express

your thoughts about the impact of Covid-19
pandemic. You may use coloring materials in
producing your output.
FORMS OF ART FROM
DIFFERENT REGION
• Look at the picture. Write at least three
sentences in your answer sheet relating this
picture to the topic about.
 It is the expression or
application of human creative
skill and imagination,
typically in a visual form such

ARTS as painting or sculpture,

producing works to be
appreciated primarily for their
beauty or emotional power.
FORMS OF ARTS IN
VA R I O U S R E G I O N
 Paintings were introduced to Filipinos in
the 16th century when the Spaniards
arrived. During this time, the Spaniards
used paintings as visual aids for their
religious propaganda of spreading
PA I N T I N G S Catholicism. These paintings, appearing
mostly on church walls, featured
religious figures that appear in Catholic
teachings. The purpose of most paintings
in the Philippines from the 16th to the
19th century were to aid the Catholic
Church
 • There are numerous
types of Filipino
dances, varying in
influence, from the
DANCES country's regions.
Types of Filipino dance
include Cordillera,
Muslim, tribal, and
Spanish style dances.
 LUZON
DANCES
A B A R U R AY

“Abaruray” is a contraction of
the words “Aba” and “Ruray”.
“Aba!” is an exclamation which
is equivalent to “Hey!”,”Hi!”, or
“Hail!” in English.
C A R I Ñ O S A

Cariñosa is a flirtatious Philippine

group dance in the Maria Clara suite of
Philippine folk dances where the fan or
handkerchief plays an instrumental roll
as it places the couple in a hard-to-get
romance scenario.
S A Y AW S A B A N G K O

Sayaw sa Bangko its

performers who must
dance on top of a bench
roughly six inches wide.
C O R D I L L E R A’ S
DANCES
S A Y AW S A B A N G A

This dance illustrates the

languid grace of a tribe
otherwise known as fierce
ASIK

Asik a solo slave dance performed by

the umbrella-bearing attendant to win
the favor of her sultan master. The
girl wears long metal fingernails and
dances and poses in doll-like motions.
PA N G S A K

Pangsak from the Yakan Muslim ethnic

group in the highlands of Mindanao. Their
dances involve complicated hand and foot
movements. In this dance, a man unties a
wrap from his wife-to-be's waist to wrap
around her body and dance with. Both of
their faces are dotted with white paint, to
hide their identity from evil spirits.
K A PA M A L O N G
MALONG

Kapa Malong Malong. Also called Sambi sa

Malong, this Maranao dance shows the many
ways of wearing a malong, a simple tubular yet
highly
W E AV I N G
W E AV I N G

Process of passing threads or strands of material under and over each

other to produce textiles. May be plain or decorated by dyes,
embroidery, and applique. Other term for weaving from different
language in the Philippines Abel, Binangonmag-abi, Mun’obol, Habe,
Habol, Hablon, Havil and Maghablon.
LUZON

Pinilian (meaning chosen) blanket

Itneg/Tinguian blanket

Supplementary weft technique

Red, white, and yellow with star like motif

BINACOL

• Itneg blanket

• Mathematically precise
supplementary weft woven cloths
• Tradition of optical illusion,
achieving a pulsating Three
dimensionality two dimensionally
BILAAN

• Man, animals, geometric

• Human and crocodile figures

• Crocodile-human representation
seems to merge
• Tumpal - elongated triangles in a
row
M A N D AYA
• Traditional dagmay textile has human figure
or that of crocodile

• Realistic figures found in ikat fabric,

• while the more abstract and geometric

representations are embroidered on textiles
MALONG

• Woven by Maranao and

Maguindanao
• Large wrap-around cloth

• Sewn together lengthwise along the

edges to form squares

SCULPTURE
From the transitional carving of anitos to the santos to Christ
and down to the saints, Filipinos find it rather not difficult as
they are already familiar with the ways of the wood. The
religion of the Ifugao people is based on ancestor worship and
the veneration of spirits and gods of nature.
Bul-ul anito of Ifugao people they believe
that they are guardians represent the
harmonious union of opposing elements,
the protection of communities from
malevolent spirits and the promise of good
fortune. Carved from auspicious red
sandalwood, these sculptures are
differentiated by their distinct genitalia,
alluding to fertility and abundance.