CONTEMPORARY PHILIPPINE ARTS FROM ITS REGION

QUARTER 1

TOPIC/LESSON NAME: 1.Combination of Different Art forms as seen in Modern times

2. CONTEMPORARY ARTS IN THE PHILIPPINES
3. Gawad sa Manlilikhang Bayan
CONTENT STANDARDS: 1.The learner demonstrates: appreciation of contemporary art forms, found in the various regions by
understanding the elements and principles
2. Understanding of the significant roles of artists from the regions
PERFORMANCE STANDARD: 1.The learner: presents a form of integrated contemporary art based on the region of his / her
choice. e.g. choreography, musical instrument, literary and music composition, visual design, and/or
theatrical performance
2. Creates avenues to advocate the arts from the different regions
LEARNING COMPETENCIES: 1. The learner demonstrates: appreciation of contemporary art forms, found in the various regions
2. Classifies various art forms found in the Philippines
3. Defines contemporary arts in the Philippines
4. Researches on various contemporary art forms
5. Explains Filipino artists’ roles and identify their contribution to contemporary arts
6. Evaluates contemporary art forms based on the elements and principles
7. Compares forms of arts from the different regions
8. Interprets and relates the significance of arts forms from the regions
9. Promotes arts from the regions
MATERIALS: Laptop
RESOURCES: Wikipedia, Youtube

PROCEDURE MEETING LEARNERS’

Understanding oneself during middle and late adolescence
INTRODUCTION/MOTIVATION

The teacher will play diff. genre of music. And let the students to observe it.
LESSON PROPER
PART 1

Modern Art

The birth of modernism and modern art can be traced back to the industrial Revolution, a
period that lasted from the 18th to the 19th century, in which rapid changes in manufacturing
, transportation, and technology profoundly affected the social , economic, and cultural
conditions of life in Western Europe, North America and eventually the world.
• More difficult to understand than traditional art

ART MOVEMENTS OF THE MODERN ERA (20-21ST CENTURY)

1. FAUVISM
2. SURREALISM
3. CUBISM
4. DADAISM

FAUVISM
was a joyful style of painting that delighted in using outrageously bold colors. It was
developed in France at the beginning of the 20 th century by Henri Matisse and Andre Derain.
The artists who painted in this style were known as “Les Fauves” (the wild beasts) a litle that
came from a sarcastic remark in a review by the art critic Louis Vauxcelles
LES FAUVES
• Believed that color should be used at its highest pitch to express the artist’s
feelings about a subject.

FAMOUS ARTIST
- HENRI MATISSE
- GEORGE ROUAULT
- ANDRE DERAIN

SURREALISM
A 20th century avant-garde movement in art and literature which sought to release the
creative potential of the unconscious mind, for example by the irrational juxtaposition of
images.
CUBIDISM
Was a revolutionary new approach to representing reality invented in around 1907-08 by
artists Pablo Picasso and Georges Braque. They brought different views of subjects together
in the same picture, resulting in paintings that appear fragmented and abstracted.
Why feeling is important while creating a piece of art work?
Why colors are important in creating a piece of work?
What does your art work means?

EVALUTION/ACTIVITY
ACTIVITY 1

Create your own master piece base on your feelings right now.

ACTIVITY 2

Make a sample of Cubidism art work. Make it the best version of your art piece.

PART 2:
INTRODUCTION/MOTIVATION
The teacher will share a short story

LESSON PROPER:
Understanding the Elements and Principles of ART
There are seven elements in art. They are color, form, line, shape, texture, and value. The
ten common principles of art are balance, emphasis, harmony, movement, pattern,
proportion, repetition, rhythm, unity, and variety.

Contemporary Art

“ART made and produced by artists living today”

- J. Paul Getty

COLOR
• A three-pronged element of art: hue, value, and intensity.
HUE is the color itself
VALUE is the hue’s lightness or darkness and changes when white or black is added to it.
INTENSITY is the aspect of brightness and purity of a color. High intensity colors are bold
and bright. Low intensity colors are faith and duller.

FORM
For painters and draftsmen, form is the element of art that renders a three-dimensional
form in two dimensions. A cube, a sphere, a cylinder and a pyramid are all different forms.
Forms can also be form/less-abstracted and free-flowing.

LINE
Marks mode on a surface are known as line. They start at a point and move along, creating
space as they go. Lines can be two-or three-dimensional, describing form or the form itself ,
implied, or abstract.

SHAPE
The Element of art that is two-dimensional, flat, or limited to height and width. Usually a
shape is enclosed.

SPACE
Is the element of art through which both positive and negative areas are defined or a sense
of depth is achieved on a work of art.

TEXTURE
This aspect of art defines the way an art object or an element in a composition feels or looks
as if it would feel if touched.

Principles of Art: RHYTHM

This principle of art describes the movement in or of an artwork. Rhythm is created by the
variety and repetition of elements in a work that come together to create a visual tempo or
beat.

HARMONY
This is achieved when the elements of an artwork come together in a unified way. Certain
element are repeated yet still look and feel similar. Not monotony and not chaos, harmony
is that perfectly honed combination of both.

BALANCE
Artists combine elements to add a feeling of equilibrium or stability to a work of art.

MOVEMENT
Is used to create the look and feeling of action in an artwork. It guides the viewer’s eye
throughout a piece. A sense of movement can be varied lines, repetition of elements, and
gestural mark-making among many more.

PATTERN
This is the uniform repetition of an element of art or combination of elements. Anything can
be turned into a pattern through repetition.

PROPORTION
Within the realm of the elements and principles of art, proportion is the relationship of
elements in an artwork to the whole and to one another.

VARIETY
The principles of art concerned with diversity or contrast is that of variety. Variety is
brought about by using diff. colors, sizes, shapes in a work of art. It is the partner of unity.

EVALUATION/ACTIVITY

Using camera, take a picture with something that has elements and principles of art. And
create your own description.

PROCEDURE MEETINGS’ LEARNER

CONTENT: CONTEMPORARY PHILIPPINE ARTS FROM REGIONS

INTRODUCTION/MOTIVATION:
The teacher will share a short story.

LESSON PROPER
PART 1

CONTEMPORARY PHILIPPINE ARTS FROM REGIONS

HUMANITIES
comes from latin word humanus, which means human, culture, refined.

WHY STUDY HUMANITIES?

The study of humanities can also be used to realize differing interpretations of life and
history. Studying of facts of the fast helps to understand literature of the past.

WE VALUE AND APPRECIATE BEAUTIFUL THINGS.

List of Subjects covered in Humanities courses:
• Painting
• Sculpture
• Architecture
• Photography
• Literature
• Music
• Dance
• Theater
• Film

VISUAL ARTS
Arts form that we perceive with our eyes. Example, painting, sculpture, and photography.

AUDITORY ARTS
Art forms that can be heard. Example, music and literature.

COMBINED ARTS
Also known as performing arts. It can both seen and heard. Example, theater, dance, and
film.

WHAT IS ART?
According to the Greeks, Art is an imitation of reality. It is imitative or representational. It
copies something in the real world.
According to Plato, ART IN AN IMITATION OF AN IMITATION.
According to Aristotle, ART IS A MIRROR OF REALITY AROUND US AND WITHIN US.

THE VALUES OF ART

1. AESTHETIC VALUE – Beauty
2. INTELLECTUAL VALUE – stimulates our mental aspect.
3. SUGGESTIVENESS – move us deeply and stir our fallings.
4. SPIRITUAL VALUE – moral values.
 5. PERMANENCE – give new insights.
6. UNIVERSALITY - timeless
7. STYLE – forms his ideas
8. FORM – skeletal structures.

4 BASIC COORDINATES OF ART

• THE SUBJECT MATTER
• THE ARTIST
• THE AUDIENCE
• ITS OWN FORM

SUBJECT MATTER
1. REPRESENTATIONAL OR FIGURATIVE ART – portrays or depicts something
2. NON-REPRESENTATIONAL – represents something except its own form.

EVALUATION/ACTIVITY
ESSAY

IS THERE A DIFFERENCE BETWEEN MODERN ART AND CONTEMPORARY ART??

PROCEDURE LEARNER MEETINGS’

GAWAD SA MANLILIKA NG BAYAN
INTRODUCTION/MOTIVATION

The teacher will show a picture and let the students to observe it.

LESSON PROPER:
GA MA BA
GAWAD sa MANLILIKHA ng BAYAN
(NATIONAL LIVING TREASURE)

it is an award to the folk and indigenous artist who remain true to their tradition.
it is institutionalized thru Republic Act no. 7355, in April 1992.

NATIONAL COMMISIONS FOR CULTURE and ARTS

(NCCA)
 Is the task for the implementation and administration of awards.
 Is the highest-policy making and coordinating body of the culture and arts of the
state.

TO BECOME A MANLILIKHA NG BAYAN, A CANDIDATE MUST POSSESS THESE QUALITIES:

A. he/she is an inhabitant of an indigenous/ traditional cultural community anywhere in the
Philippines that has preserved indigenous costums, beliefs, rituals, and traditions and/or as
syncretized whatever external elements that have influenced it.

B. he/she must have engaged in a folk tradition that has been in existence and documented
for at least 50 years.

C. he/she must consistently performed or produced over a significant period, works of

supervisor and distinctive quality.

10 CATEGORIES
 FOLK ARCHITECTURE
 MARITIME TRANSPORT
 WEAVING
 CARVING
 PERFORMING ARTS
 LITERATURE
 GRAPHIC AND PLASTIC ARTS
 ORNAMENTS
 TEXTILE AND FIBER ART
 POTTERY

FOLK ARCHITECTURE
Folk architecture is the living environment people have created for themselves. We can
define local architecture as an architecture formed in the process of anonymous design
which later becomes traditional under the influence of various factors.

MARITIME TRANSPORT

Maritime transport (or ocean transport) and fluvial transport, or more generally

waterborne transport, is the transport of people (passengers) or goods (cargo) via
waterways. Freight transport by sea has been widely used throughout recorded history.

WEAVING
Weaving is a method of textile production in which two distinct sets of yarns or threads are
interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting,
felting, and braiding or plaiting.

CARVING

Carving is the act of using tools to shape something from a material by scraping away
portions of that material. The technique can be applied to any material that is solid enough
to hold a form even when pieces have been removed from it, and yet soft enough for
portions to be scraped away with available tools.

PERFORMING ARTS
Performing arts refers to forms of art in which artists use their voices, bodies or inanimate
objects to convey artistic expression. It is different from visual arts, which is when artists use
paint, canvas or various materials to create physical or static art objects. Performing arts
include a range of disciplines which are performed in front of a live audience, inducing
theatre, music, and dance.

LITERATURE
Literature broadly refers to any collection of written or oral work, but it more commonly
and narrowly refers to writings specifically considered to be an art form, especially prose
fiction, drama, and poetry, in contrast to academic writing and newspapers.

GRAPHIC AND PLASTIC ART

Graphic art further includes calligraphy, photography, painting, typography,

computer graphics, and bindery. š Plastic arts are art forms which involve physical
manipulation of. a plastic medium by molding or modeling such as sculpture or. ceramics.
ORNAMENTS

Ornament (art), any purely decorative element in architecture and the decorative arts.
Dingbat, decorations in typography. Bronze and brass ornamental work.
Christmas ornament, a decoration used to festoon a Christmas tree. Hood ornament, a
decoration on the hood of an automobile.

TEXTILE AND FIBER ART

Textile art is the process of creating something using fibers gained from sources like plants,
animals, insects (think silk worms!), or synthetic materials. Making textiles is an extremely
old art form. Textile fragments have been found dating back to prehistoric times and there's
a good reason for this. Think of how cold winter can be. How would you feel if you didn't
have warm clothing? People developed textiles to keep warm, to protect surfaces and to
insulate dwellings.

POTTERY

Pottery is the process and the products of forming vessels and other objects with clay and
other ceramic materials, which are fired at high temperatures to give them a hard, durable
form. Major types include earthenware, stoneware and porcelain.

PROCEDURE MEETING LEARNERS’

GAMABA AWARDEES
INTRODUCTION/MOTIVATION:
WHAT CAN YOU SAY ABOUT THE PICTURE??

LESSON PROPER:

Gamaba awardees

GINAW BILOG
Poet
Hanunuo Mangyan
Panaytayan, Oriental Mindoro
1993

A common cultural aspect among cultural communities nationwide is the oral tradition
characterized by poetic verses which are either sung or chanted. However, what
distinguishes the rich Mangyan literary tradition from others is the ambahan, a poetic
literary form composed of seven-syllable lines used to convey messages through metaphors
and images.

The ambahan is sung and its messages range from courtship, giving advice to the young,
asking for a place to stay, saying goodbye to a dear friend and so on. Such an oral tradition
is commonplace among indigenous cultural groups but the ambahan has remained in
existence today chiefly because it is etched on bamboo tubes using ancient Southeast Asian,
pre-colonial script called surat Mangyan.
Ginaw Bilog, Hanunoo Mangyan from Mansalay, Mindoro, grew up in such a cultural
environment. Already steeped in the wisdom that the ambahan is a key to the
understanding of the Mangyan soul, Ginaw took it upon himself to continually keep scores
of ambahan poetry recorded, not only on bamboo tubes but on old, dog-eared notebooks
passed on to him by friends.

MASINO INTARAY (+ 2013)

Musician and Storyteller
Pala’wan
Brookes Point, Palawan
1993

Living in the highlands of southern Palawan are the Palawan people, who, together with the
Batak and Tagbanwa, are the major indigenous cultural communities of Palawan.

The Palawan possess a rich, intense yet highly refined culture encompassing both the visible
and invisible worlds. They may not exhibit the ornate splendor of the Maranaw nor the
striking elegance of the Yakan, but their elaborate conemology, extensive poetic and literary
traditions, multi-level architecture, musical concepts, social ethic and rituals reveal a deeply
spiritual sensibility and subtle inner life of a people attuned to the myriad energies and
forms of luxurious mountain universe that is their abode, a forest environment of great
trees, countless species of plants and animals, and a magnificent firmament.

The Palawan have no notion of property. To them, the earth, sea, sky and nature’s elements
belong to no one. Their basic social ethic is one sharing. Their most important rituals such as
the tambilaw and the tinapay are forms of vast and lavish sharing, particularly of food and
drinks, skills and ideas.

The tambilaw is a collective cooking and sharing of rice which is a ritual offering to the Lord
of Rice, Ampo’t Paray, while the tinapay is the rice wine drinking ceremony. It is during such
occasions that the basal, or gong music ensemble, plays a vital role in the life of the
community. For it is the music ofthe basal that collectively and spiritually connects the
Palawan with the Great Lord, Ampo and the Master Rice, Ampo’t Paray. The basal enlivens
the night long fast of the drinking of the rice wine, bringing together about one hundred
guests under the roof of the kolon banwa (big house).

SAMAON SULAIMAN
Musician
Magindanao
Mama sa Pano, Maguindanao
1993

The Magindanaon, who are among the largest of Filipino Islamic groups, are concentrated in
the towns of Dinaig, Datu Piang, Maganoy and Buluan in Magindanao province. Highly
sophisticated in weaving, okir designs, jewelry, metalwork and brassware, their art is
Southeast Asian yet distinct in character.

in the field of music, the Magindanaon have few peers among Filipino cultural communities.
Their
masters on the kulintang (gong-chime) and kutyapi (two-stringed plucked lute) are
comparable to any instrumental virtuoso in the East or West.

The kutyapi is a favorite solo instrument among both Muslim and non-Muslim Filipinos, and
is also played in combination with other instruments. It exists in a great variety of designs,
shapes and sizes and known by such names as kotapi (Subanon), fegereng (Tiruray), faglong
(B’laan), hegelong (T’boli) and kuglong or kudlong (Manobo).

The Magindanao kutyapi is one of the most technically demanding and difficult to master
among Filipino traditional instruments, which is one reason why the younger generation is
not too keen to learn it. Of its two strings, one provides the rhythmic drone, while the other
has movable frets that allow melodies to be played in two sets of pentatonic scales, one
containing semitones, the other containing none.

Magindanao kutyapi music is rich in melodic and rhythmic invention, explores a wide range
of timbresand sound phenomena – both human and natural, possesses a subtle and
variable tuning system, and is deeply poetic in inspiration.

LANG DULAY
Textile Weaver
T’boli
Lake Sebu, South Cotabato
1998
Using abaca fibers as fine as hair, Lang Dulay speaks more eloquently than words can.
Images from the distant past of her people, the Tbolis, are recreated by her nimble hands –
the crocodiles, butterflies and flowers, along with mountains and streams, of Lake Sebu,
South Cotabato, where she and her ancestors were born – fill the fabric with their longing to
be remembered. Through her weaving, Lang Dulay does what she can to keep her people’s
tradition alive.

There are a few of them left, the traditional weavers of the tnalak or Tboli cloth. It is not
hard to see why: weaving tnalak is a tedious process that begins with stripping the stem of
the abaca plant to get the fibers, to coaxing even finer fibers for the textile, then drying the
threads and tying each strand by hand. Afterwards, there is the delicate task of setting the
strands on the “bed-tying” frame made of bamboo, with an eye towards deciding which
strands should be tied to resist the dye. It is the bud or tying of the abaca fibers that defines
the design.

Lang Dulay knows a hundred designs, including the bulinglangit (clouds), the bankiring (hair
bangs), and the kabangi (butterfly), each one special for the stories it tells. Using red and
black dyes, she spins her stories with grace. Her textiles reflect the wisdom and the visions
of her people.

She was only 12 when she first learned how to weave. Through the years, she has dreamed
that,
someday she could pass on her talent and skills to the young in her community. Four of her
grandchildren have themselves picked up the shuttle and are learning to weave.

SALINTA MONON
Textile Weaver
Tagabawa Bagobo
Bansalan, Davao del Sur
1998
Practically, since she was born, Salinta Monon had watched her mother’s nimble hands
glide over theloom, weaving traditional Bagobo textiles. At 12 she presented herself to her
mother, to be taught how to weave herself. Her ardent desire to excel in the art of her
ancestors enabled her to learn quickly. She developed a keen eye for the traditional designs,
and now, at the age of 65, she can identify the design as well as the author of a woven piece
just by a glance.

All her life she has woven continuously, through her marriage and six pregnancies, and even
after herhusband’s death 20 years ago. She and her sister are the only remaining Bagobo
weavers in her community.

Her husband paid her parents a higher bride price because of her weaving skills. However,
he left all the abaca gathering and stripping to her. Instead, he concentrated on making
their small farm holdingproductive. Life was such that she was obliged to help out in the
farm, often putting her own work aside to make sure the planting got done and the harvest
were brought in. When her husband died, she was left alone with a farm and six children,
but she continued with her weaving, as a source of income as well as pride.

Salinta has built a solid reputation for the quality of her work and the intricacies of her
designs. There is a continuing demand for her fabrics. She has reached the stage where she
is able to set her own price, but she admits to a nagging sense of being underpaid
nevertheless, considering the time she puts into her work. It takes her three to four months
to finish a fabric 3.5 m x 42 cm in length, or one abaca tube skirt per month.

ALONZO SACLAG
Musician and Dancer, Kalinga
Lubugan, Kalinga
2000

History, they say, is always written from the perspective of the dominant class. It is not as
objective an account as we were led to believe when, as elementary schoolchildren, we
were made to memorize the details of the lives of Jose Rizal and the other notable
ilustrados. History is about as impartial as the editorials we eagerly devour today, the ones
that extol and chastise the exploits and the foibles of government, but with a distinct
advantage: by virtue of its form, it takes on an aura of authority. And this authority is one
ordinary schoolchildren and adults alike are hardly likely to challenge.

To guarantee that his knowledge in the performing arts is passed on to others, he formed
the Kalinga Budong Dance Troupe. He takes the young men and women who come to him
under his charge and they learn about the music and dance of their ancestors. While many
have expressed a genuine desire to represent and promote Kalinga performing arts, he
admits that a handful have other, more personal, motives. Because the troupe occasionally
goes on tour, joining it is perceived by some as a chance to see places other than mountains
they call home. Who can resist the lure of foreign places, he concedes.

His own wife and children have joined him in his travels and performances, and though they
match his commitment and his dedication, he acknowledges, with a playful grin, that his
nine children have yet to equal his graceful movements.

Expo Filipino in Pampanga. Cool even in the midday heat, he says it served as a retreat not
only for the Kalinga participants but also for some of the students who had visited the Expo.