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    Japanese Occupation of The Philippines

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    MichaelMazo
    The document discusses the Japanese occupation of the Philippines from 1941 to 1945. It notes that the invasion began on December 8, 1941, shortly after the attack on Pearl Harbor. The Americans were unable to provide air support due to damage from the initial Japanese attack. Over 76,000 American and Filipino troops surrendered in April 1942 and were forced on the infamous Bataan Death March. Japan occupied the Philippines for over three years until surrendering in 1945. A guerilla resistance movement controlled 60% of the country. The occupation is the subject of a series of tarot cards created in the 1980s by Filipino artist Brenda Fajardo to examine this period of history.

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    Japanese Occupation of The Philippines

    Uploaded by

    MichaelMazo
    210 views7 pages
    The document discusses the Japanese occupation of the Philippines from 1941 to 1945. It notes that the invasion began on December 8, 1941, shortly after the attack on Pearl Harbor. The Americans were unable to provide air support due to damage from the initial Japanese attack. Over 76,000 American and Filipino troops surrendered in April 1942 and were forced on the infamous Bataan Death March. Japan occupied the Philippines for over three years until surrendering in 1945. A guerilla resistance movement controlled 60% of the country. The occupation is the subject of a series of tarot cards created in the 1980s by Filipino artist Brenda Fajardo to examine this period of history.

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    PHILIPPINE HISTORY

    Original Title

    Japanese Occupation of the Philippines

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    The document discusses the Japanese occupation of the Philippines from 1941 to 1945. It notes that the invasion began on December 8, 1941, shortly after the attack on Pearl Harbor. The Americans were unable to provide air support due to damage from the initial Japanese attack. Over 76,000 American and Filipino troops surrendered in April 1942 and were forced on the infamous Bataan Death March. Japan occupied the Philippines for over three years until surrendering in 1945. A guerilla resistance movement controlled 60% of the country. The occupation is the subject of a series of tarot cards created in the 1980s by Filipino artist Brenda Fajardo to examine this period of history.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    210 views7 pages

    Japanese Occupation of The Philippines

    Uploaded by

    MichaelMazo
    The document discusses the Japanese occupation of the Philippines from 1941 to 1945. It notes that the invasion began on December 8, 1941, shortly after the attack on Pearl Harbor. The Americans were unable to provide air support due to damage from the initial Japanese attack. Over 76,000 American and Filipino troops surrendered in April 1942 and were forced on the infamous Bataan Death March. Japan occupied the Philippines for over three years until surrendering in 1945. A guerilla resistance movement controlled 60% of the country. The occupation is the subject of a series of tarot cards created in the 1980s by Filipino artist Brenda Fajardo to examine this period of history.

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    © All Rights Reserved
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    Japanese occupation of the Philippines

    1941

    The Japanese occupation of the Philippines occurred between 1942 and 1945, when Imperial Japan occupied the
    Commonwealth of the Philippines during World War II.
    The invasion of the Philippines started on 8 December 1941, ten hours after the attack on Pearl Harbor. As at Pearl
    Harbor, American aircraft were severely damaged in the initial Japanese attack. Lacking air cover, the American Asiatic
    Fleet in the Philippines withdrew to Java on 12 December 1941. General Douglas MacArthur was ordered out, leaving his
    men at Corregidor on the night of 11 March 1942 for Australia, 4,000 km away. The 76,000 starving and sick American
    and Filipino defenders on Bataan surrendered on 9 April 1942, and were forced to endure the infamous Bataan Death
    March on which 7,000–10,000 died or were murdered. The 13,000 survivors on Corregidor surrendered on 6 May.
    Japan occupied the Philippines for over three years, until the surrender of Japan. A highly effective guerilla campaign by
    Philippine resistance forces controlled sixty percent of the islands, mostly jungle and mountain areas. MacArthur supplied
    them by submarine, and sent reinforcements and officers.

    National Heritage Board, Singapore

    Born in the Philippines, Brenda Fajardo (1940) graduated from the University of Wisconsin, United States with Master of
    Science in Art Education in 1967. She was awarded the Thirteen Artists award by the Cultural Centre of Philippines in
    1992 and the Centennial Awards for the Arts. In 2006, she was conferred the lifetime position of Professor Emeritus by
    the University of Philippines. Fajardo is known for the seminal Tarot cards series in late 1980s. The Tarot cards, which
    foretell the future, were used as a tool to examine the history of the Philippines, specifically the Japanese
    Occupation(1941-1945). The cards depict events surrounding the central theme, and through the placement of the cards,
    and the reversing of certain cards, Fajardo expresses her desire to re-write the history of her country through storytelling.
    Details

     Title: Japanese Occupation


     Creator: Brenda Fajardo
     Date Created: 1989
     Physical Dimensions: w8700 x h6800 cm (Frame size)
     Type: Paintings
     Medium: Mixed media
     Material Extent: completed

    https://artsandculture.google.com/asset/japanese-occupation/9wEqLrPagERO1g
    Inherent contradictions
    De Pio continues his examination of the inherent contradictions of Japanese culture—with a marked emphasis
    on its quirks.
    The titular piece “The Art of Making Sushi” is a fitting example. Here, we see a chef wrestling with an octopus
    in a style very similar to Yakuza tattoos. This mighty struggle is flanked by various pieces of sushi against a
    sky-blue background, indicating the eventual fate of raw materials like the octopus.
    The work exhibits De Pio’s shokunin-like grasp of subject matter and the conceptual underpinnings of his
    examination.
    As if to underscore the notion of transience, there is a small animé-style Philippine tarsier in a kimono waiting
    on the horizon, anticipating the coming meal.
    It is a playful work on the outset, but is nonetheless layered in deeper meanings of a Filipino’s exposure to
    aspects of Japanese culture, including its cuisine.

    Read more: http://lifestyle.inquirer.net/160386/japanese-popular-culture-gets-contemporary-art-


    treatment/#ixzz5JFN23mtx
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    Allegory of transition

    “THE ART of Making Sushi”


    The notion of Japanese identity—especially within the context of the Meiji period and the nation’s opening to
    the West—is tackled in “The Search for Home.”
    We see a typical Japanese family with their belongings on their back as if on some sort of journey, Surrealist
    elements of scenes of the nation’s experience in opening themselves up to the West—such as US Commodore
    Perry’s arrival at Yokohama—and the subsequent confusion and tension it wrought are depicted in surreal hazes
    that blend in seamlessly with the main subjects.
    The allegory of transition is undeniable, and its powerful message is brilliantly captured through De Pio’s
    nimble skill. But it is ultimately an autobiographical story of the artist’s own struggles to find stability in the
    home.
    Indeed, De Pio is at his best when working with these messages and capturing the very essence of wabi-sabi in
    his works. A thought-provoking setting combined with an immeasurable talent in Manila’s newest
    contemporary art space.
    In “The Art of Making Sushi,” De Pio goes deeper into the conceptual aspects of this approach, which ties in
    with the vision of Art Underground to showcase the best of Philippine contemporary visual arts. The show
    opens on May 24, 6 p.m., and runs until June 4.
    Art Underground is at 814 Balagtas St., off Shaw Boulevard, Addition Hills, Mandaluyong City. Call 7210745.

    Read more: http://lifestyle.inquirer.net/160386/japanese-popular-culture-gets-contemporary-art-


    treatment/#ixzz5JFNiWItY
    Japanese popular culture gets contemporary art treatment

    By: Duffie Hufana Osental

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    contemporary-art-treatment/#ixzz5JFJstkvy

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    “THE SEARCH for Home”

    2nd picture

    From manga to animé, from Yakult to Yan Yan snacks, from Doraemon to Hello Kitty, Japan exerts a strong influence on
    the Filipino psyche.
    That the Japanese have played an aggressive role during World War II also makes it challenging to reconcile their dual
    nature as the nation of Astro Boy and naval warships—of geishas, the kamikaze and the dreaded Kempetai.
    This compelling cocktail of history and pop culture is the foundation of Vincent de Pio’s recent work. Through this
    examination of the Japanese social milieu, the artist attempts to explain the many supposed quirks and nuances of
    Japanese culture, and tackles the challenge of reconciling the disparate ideas of Japanese society—the blending of the
    ancient and the modern, for instance. Or the interactions of Eastern Zen and Western philosophy.
    These interludes are ripe for artistic exploration. And it is a concept that De Pio, son of portraitist Gig de Pio, has
    wrestled with before.
    Now, he uses his own surreal interactions with Japanese culture and history for his latest exhibition, “The Art of Making
    Sushi,” which will open at Art Underground on Shaw Boulevard in Mandaluyong City.
    A product of the College of Fine Arts of University of the Philippines, De Pio is one of the most sought-after artists of his
    generation. Having been included in numerous prestigious auctions abroad—including those in Hong Kong and
    Singapore—De Pio was originally captivated by painting classical women cellists in pursuit of their craft.
    But he soon branched out and pioneered the use of Japanese historical and pop imagery—starting with an exploration of
    the role of the geisha. From this initial push, De Pio dug deeper and became interested in other aspects of Japanese
    culture such as noblemen and ladies and, inevitably, the world of the samurai. This culminated in a critically lauded
    exhibition dubbed “Banzai!” at Galerie Joaquin in 2013.

    Read more: http://lifestyle.inquirer.net/160386/japanese-popular-culture-gets-contemporary-art-


    treatment/#ixzz5JFLmZN1b

    “CHRYSANTHEMUM Warrior”

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